Titlebook: Gilbert and Sullivan‘s ‘Respectable Capers‘; Class, Respectabilit Michael Goron Book 2016 The Editor(s) (if applicable) and The Author(s) 2

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,The West End: ‘Middle-Class’ Values and Commercialisation,f the development of West End theatre between 1843 and 1881 addresses the genesis of the D’Oyly Carte Opera Company within the booming leisure marketplace of late-Victorian London. Goron explores changes in middle-class leisure habits, and the consequent development of theatrical entertainments to m

fertilizer

, at the Savoy,e device of a notional ‘evening at the Savoy’, featuring a visit by a typical suburban family group, is used to identify various locational, architectural, decorative and discourse-related elements related to attending Carte’s state of-the-art auditorium..Goron considers the significance of the pion

Interstellar

,Savoy Audiences 1881–1909, a shared ideology, or whether social ‘fissures’ within a socially divided auditorium undermine societal cohesion. Analysis of the social make-up of typical first-night audience behaviour, and issues such as the expansion of the lower middle classes and the theatre-going habits of young men and wome

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,‘The D’Oyly Carte Boarding School’: Female Respectability at the Savoy*,ained by the management. He investigates the premise that, by regulating the lives of female performers, Victorian entrepreneur Richard D’Oyly Carte created a company image which concurred with, and reinforced, the moral preoccupations of the ‘respectable’ middle classes. The chapter explores the no

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,‘The Placid English Style’: Ideology and Performance,eras to discover whether they derived from and reflected the cultural values of the ‘respectable’ Victorian middle classes. The ‘restrained’ Savoy style is contrasted with that of the ‘low’ comedy and sexual ‘knowingness’ of contemporary burlesque to evaluate the significance of methods used at the

charisma

Conclusion,was tainted in the public imagination with immorality, and suffered, in terms of public perception of its propriety, from the rather indefinable social status of its inhabitants. The attempts of some theatre practitioners to acquire and demonstrate the trappings of respectability (or to display what

生意行为

https://doi.org/10.1007/978-3-642-50720-5d mores into the Savoy Theatre, and onto its stage. Goron explains the originality of his intention—an attempt to focus the methods of recent historical studies of Victorian theatre on the Gilbert and Sullivan collaboration. The Introduction explains the key concepts behind this study, particularly

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