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"A key figure in British literary circles following the French Revolution, novelist and playwright Thomas Holcroft promoted ideas of reform and equality informed by the philosophy of his close friend William Godwin. Arrested for treason in 1794 and released without trial, Holcroft was notorious in his own time, but today appears mainly as a supporting character in studies of 1790s literary activism. Thomas Holcroft's Revolutionary Drama authoritatively reintroduces and reestablishes this central figure of the revolutionary decade by examining his life, plays, memoirs, and personal correspondence. In engaging with theatrical censorship, apostacy, and the response of audiences and critics to radical drama, this thoughtful study also demonstrates how theater functions in times of political repression. Despite his struggles, Holcroft also had major successes: this book examines his surprisingly robust afterlife, as his plays, especially The Road to Ruin, were repeatedly revived worldwide in the nineteenth century"--
English drama --- History and criticism. --- Holcroft, Thomas, --- Criticism and interpretation. --- Influence. --- Thomas Holcroft, Treason Trials, melodrama, theater censorship, working-class life writing, William Godwin, Sir Thomas Lawrence, James Gillray, Robert Dighton, Richard Newton, Samuel de Wilde, William Mulready, radicalism, authorship, life writing, afterlives, The Road to Ruin, eighteenth-century theater, nineteenth-century theater, theater and performance, literary activism, 1790s, radical drama, eighteenth-century political activism.
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Long before Edith Piaf sang "La vie en rose," her predecessors took to the stage of the belle epoque music hall, singing of female desire, the treachery of men, the harshness of working-class life, and the rough neighborhoods of Paris. Icon of working-class femininity and the underworld, the realist singer signaled the emergence of new cultural roles for women as well as shifts in the nature of popular entertainment. Chanteuse in the City provides a genealogy of realist performance through analysis of the music hall careers and film roles of Mistinguett, Josephine Baker, Fréhel, and Damia. Above all, Conway offers a fresh interpretation of 1930's French cinema, emphasizing its love affair with popular song and its close connections to the music hall and the café-concert. Conway uncovers an important tradition of female performance in the golden era of French film, usually viewed as a cinema preoccupied with masculinity. She shows how-in films such as Pépé le Moko, Le Crime de Monsieur Lange, and Zouzou-the realist chanteuse addresses female despair at the hopelessness of love. Conway also sheds light on the larger cultural implications of the shift from the intimate café-concert to the spectacular music hall, before the talkies displaced both kinds of live performance altogether.
Motion pictures --- Women singers --- Motion picture music --- Popular music --- Background music for motion pictures --- Film music --- Film scores --- Movie music --- Moving-picture music --- Dramatic music --- Music --- History. --- History and criticism. --- 82:791.43 --- 82:791.43 Literatuur en film --- Literatuur en film --- History and criticism --- History --- 1930s. --- beauty. --- belle epoque music hall. --- cafe concert. --- cinema lovers. --- cinemaphiles. --- cultural implications. --- cultural roles. --- cultural studies. --- female desire. --- femininity. --- film and culture. --- film historians. --- france. --- french cinema. --- french culture. --- french film. --- gender roles. --- golden era. --- music hall careers. --- music. --- paris. --- popular entertainment. --- popular music. --- realist performance. --- realist singer. --- singers. --- theatre. --- women in film. --- womens roles. --- working class life.
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