Open Access (free)
A theatre maker in every sense
Brian Singleton

. Two examples of contemporary European theatre had the most influence on the company’s change of direction, as they both moved the vogue of orientalism higher up the cultural scale. First was the visit of Diaghilev’s Ballets Russes to the London Coliseum in 1910 dancing Rimsky-Korsakov’s Scheherazade, designed by Léon Bakst and choreographed by Michel Fokine. It was most memorable for an orgiastic Bacchanale scene, which, along with its choreographer, would feature ultimately on the Asche–Brayton stage. The second production that set the critics alight was the Berlin

in Stage women, 1900–50
Open Access (free)
West Indian intellectual
Helen Carr

respectability in ways other than her colonial origins. Becoming a chorus girl symbolised a downward step, a move into one of those professions, like acting or dancing, which at that period were always suspected of sexual laxity. Chorus girls were largely working class, and could perhaps be acceptable as such. As Mrs Wilson, the suspicious interrogator in ‘Outside the machine’, says of a working-class chorus

in West Indian intellectuals in Britain
Open Access (free)
Janelle Joseph

individual. Emotions, associated with signs, objects and the power of language (Ahmed, 2004 ), can be collectively felt and expressed (Ritivoi, 2002 ). Men’s stories told around the boundary, in their changing rooms, and at their hotels, parties, dances or meetings narrate the past: how it really was, how it may have been, and how they knew it was not, but hoped it would be. The truth or accuracy of

in Sport in the Black Atlantic
Open Access (free)
Janelle Joseph

people for dances, parties and bus trips. Riddick clarified: “[Michael] goes everywhere. He is the blackest black man on the team!” Riddick tried to clarify, “He likes to dance and party. Indians don’t drink. They wouldn’t fit in so we don’t invite them.” He points out two important aspects of Mavericks cricket: travelling and drinking, and labels these activities “black.” The

in Sport in the Black Atlantic
Philip Nanton

. Spiritual Baptists and the shifting frontier of religious acceptability [A]‌fter hymns and prayers come the part which is called Rejoicing. This consists of songs set to dance music, which cause them to shake and jump about in the most awful manner possible, in their frenzied state they make use of words which they

in Frontiers of the Caribbean
Catherine Baker

1808) and the islands of Korčula (Venetian 1420–1797) and Lastovo (Ragusan until 1808). Dubrovnik and Korčula folk traditions both include the ‘moreška’, a sword-dance where two kings fight over a symbolic princess, which ethnologists have compared to Spanish ‘moros y cristianos’ (‘Moors and Christians’) customs, Venetian mock factional battles and English morris dancing. Its contest between a Black King, who has abducted the princess and whose dancers traditionally (though rarely today) wear black faces or masks, and a White King, who in Korčula

in Race and the Yugoslav region
Christine E. Hallett

Base Hospital Is Not a Coney Island Dance Hall’, presents a handful of clear examples of serious bullying on the part of medical officers, though it is unclear whether these can be viewed as typical.12 125 Professional women Julia Stimson’s ‘splendid women’ American nurse Julia Stimson appears to have had no difficulties in her relationships with medical officers. Her charismatic personality and apparently resolute refusal to see anything but good in any of her colleagues seems to have inoculated her against the problems encountered by some other senior nurses

in Nurse Writers of the Great War
Stephen Mitchell

knowledge of elsewhere, either in the Rev. Nicholson’s reports or the court documents. All of these stories parallel aspects of English witchcraft tradition: Izzard is said, for example, to have bewitched the wife of her creditor, the innkeeper and grocer, ‘making her go through all sorts of queer antics, even to dancing on the tea table among the cups and saucers’ ( Magic dancing; Enchanted persons dance until released ; Witch

in Witchcraft Continued
Ingmar Bergman’s filmmaking
Laura Hubner

everyday reality. He sees the knight playing chess with Death; the Dance of Death is his vision. But he also fabricates and elaborates on his tales. When his wife Mia reminds him that he made up the story about the Devil painting the wheels red with his tail, he says that he did this so that she would believe in his other visions. While these are clearly ‘light-touch’ fabrications rather than the work of a professional charlatan, the need to make things up—to lend viability to less credible visions—opens up the notion that

in Ingmar Bergman
Ian Mackillop and Neil Sinyard

subjective fades to black to suggest the ‘dying of the light’ as a mortally injured Ian Bannen tries unavailingly to attend to what a policeman is saying to him. In Charles Crichton’s Dance Hall (1950), the crosscutting between dance hall and train station as the heroine (Natasha Parry) is taken almost to the point of suicide eloquently forges a connection between the deceptive illusions of the former setting (‘You’re Only

in British cinema of the 1950s