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The Admirable Crichton and Look Back in Anger

and tensions. To explore this it is necessary, for a while, to go outside the 1950s, and away from film history, for film criticism and theory has been churlish about the theatrical in cinema; indeed, the inferiority felt by the film industry towards the theatre noted earlier is markedly absent. In theatre criticism, to note that a play is ‘cinematic’ is often to find something interesting in it, to

in British cinema of the 1950s
Working memories

Street theatre and the production of postindustrial space explores how street theatre transforms industrial space into postindustrial space. Deindustrializing communities have increasingly turned to cultural projects to commemorate industrial heritage while simultaneously generating surplus value and jobs in a changing economy. Through analysis of French street theatre companies working out of converted industrial sites, this book reveals how theatre and performance more generally participate in and make historical sense of ongoing urban and economic change. The book argues, firstly, that deindustrialization and redevelopment rely on the spatial and temporal logics of theatre and performance. Redevelopment requires theatrical events and performative acts that revise, resituate, and re-embody particular pasts. The book proposes working memory as a central metaphor for these processes. The book argues, secondly, that in contemporary France street theatre has emerged as working memory's privileged artistic form. If the transition from industrial to postindustrial space relies on theatrical logics, those logics will manifest differently depending on geographic context. The book links the proliferation of street theatre in France since the 1970s to the crisis in Fordist-Taylorist modernity. How have street theatre companies converted spaces of manufacturing into spaces of theatrical production? How do these companies (with municipal governments and developers) connect their work to the work that occurred in these spaces in the past? How do those connections manifest in theatrical events, and how do such events give shape and meaning to redevelopment? Street theatre’s function is both economic and historiographic. It makes the past intelligible as past and useful to the present.

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Female theatre workers and professional practice

Stage women, 1900–50 explores the many ways in which women conceptualised, constructed and participated in networks of professional practice in the theatre and performance industries between 1900 and 1950. A timely volume full of original research, the book explores women’s complex negotiations of their agency over both their labour and public representation, and their use of personal and professional networks to sustain their careers. Including a series of case studies that explore a range of well-known and lesser-known women working in theatre, film and popular performance of the period. The volume is divided into two connected parts. ‘Female theatre workers in the social and theatrical realm’ looks at the relationship between women’s work – on- and offstage – and autobiography, activism, technique, touring, education and the law. Part II, ‘Women and popular performance’, focuses on the careers of individual artists, once household names, including Lily Brayton, Ellen Terry, radio star Mabel Constanduros, and Oscar-winning film star Margaret Rutherford. Overall, the book provides new and vibrant cultural histories of women’s work in the theatre and performance industries of the period.

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Working memory

Anglophone precedents and thus robbed it of the clear sense of direction that had enabled its rapid postwar modernization.8 These drastically altered circumstances, characterized by pervasive uncertainty, make working memory both especially necessary and more readily apparent. As I demonstrate below and throughout this book, working memory operates theatrically and performatively. To make historical sense of deindustrialization and redevelopment requires theatrical events and performative acts that revise, resituate, and re-embody particular pasts. Working memory depends

in Street theatre and the production of postindustrial space
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Street and theatre at the end of Fordism

. I find this claim to be anti-theatrical, and also inadequate in its reductive account of street theatre’s political, spatial, and temporal work. Ultimately, this investigation reveals that street performers might do more complex historiographic work in the theatrical event than these dominant origin stories would suggest.4 Street theatre’s negative space Contemporary French street theatre emerged concomitantly with what François Hartog calls a ‘memorial wave’ in the 1970s and 1980s.5 French historians and film-makers released works that reckoned with the legacy

in Street theatre and the production of postindustrial space
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The imaginary archaeology of redevelopment

, a narrative, an image’ that ‘stands for the past in the present.’6 To excavate is to hollow out, but meaning and narrative are fabricated (rather than found) within the void. PlayRec and SPP offer two models of theatrical archaeology, both of which play on the constructedness of urban and industrial memory while remaining faithful to a materialist metanarrative. By this I mean that the theatrical revelation of memory’s constructedness – or even the theatrical re-enactment of memory’s construction – does not presume radical polyvocality; it neither dispenses with

in Street theatre and the production of postindustrial space
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Sarah Bernhardt, Queen Elizabeth and the development of motion pictures

Sarah Bernhardt, the greatest theatrical star of the late nineteenth century, enabled and even promoted the association of early film with the British monarchy. She did this literally, by playing the role of Queen Elizabeth in Queen Elizabeth ( Les Amours de la Reine Elisabeth , Henri Desfontaines and Louis Mercanton, 1912). Bernhardt also promoted the association of the

in The British monarchy on screen
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Continuous theatre for a creative city

construct the interactive mechanical animals that will become part of future urban installations. The third Nave shelters the Great Elephant and also houses the Machines Gallery, in which visitors may view and test La Machine’s works in progress (see figure 4.2). The launch of the Great Elephant was the most spectacular aspect of an ongoing theatrical endeavour that is supposed to propel Nantes forward into a creative economy while commemorating the industrial heritage of the shipyards. La Machine divides its work into three categories: construction of theatrical

in Street theatre and the production of postindustrial space
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Hamlet, adaptation and the work of following

the case of theatrical appropriation where, as Mark Fortier reminds us: Interpretation in the form of theatrical conceptualising or performance . . . can and sometimes must take license in ways that literary criticism narrowly defined does not. . . . Theatrical adaptation, especially radical rewriting and restaging of an existing work, goes one step further: although adaptations of Shakespeare’s work may be driven by a belief in fidelity to something about Shakespeare, and although in large measure they are forms of critical and interpretative practice, questions

in The new aestheticism
A celebration

This book offers a startling re-evaluation of what has until now been seen as the most critically lacklustre period of the British film history. It includes fresh assessment of maverick directors; Pat Jackson, Robert Hamer and Joseph Losey, and even of a maverick critic Raymond Durgnat. The book features personal insights from those inidividually implicated in 1950s cinema; Corin Redgrave on Michael Redgrave, Isabel Quigly on film reviewing, and Bryony Dixon of the BFI on archiving and preservation. A classic image from 1950s British cinema would be Jack Hawkins in The Cruel Sea, the epitome of quiet English integrity. Raymond Durgnat's A Mirror for England: British Movies from Austerity to Affluence, which deals extensively with British films of the 1950s, was written in the mid-1960s and was published in 1970. In a 1947 article called 'Angles of Approach' Lindsay Anderson delivered a fierce attack on contemporary British film culture, outlining a model for a devoted politics of creation, well in line with what we would later understand as auteurism and art cinema aesthetics . The war films of the 1950s together constitute the assented-to record of the emotions and moral judgments called upon to set in order those disorderly events. The book also talks about the Festival of Britain, White Corridors, and four Hamer's post-Ealing films: The Spider and the Fly, The Long Memory, Father Brown and The Scapegoat. A number of factors have contributed to the relative neglect of the 1950s as a decade in British cinema history.