Spring 2015 Incorporating Islington History Journal
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An Actors Story
AN ACTOR ’S STORY B RA N S BY WILL IA M S FVITH N UAIE R 0 US [ LL US TRA T1OA 'S L O N DO N ° C HA P A N HA L L LTD (5 . M , I 9 0 9 M Y W IF E P R E FA C E bo o k IN submitting this to the public , con o n scious of all its shortcomings , I can ly hope for the same good-natured indulgence in my new 7618 off the stage as is invariably given me - in my well tried 77576 5 on it . The bo o k owes its existence to my many friends w ho have pressed me into this new “ it nu part . H aving accepted , not a little willingly—for I know my limitations perhaps better than they— I can but trust that the public will be lenient in its judgment of my performance . am am I bound to confess , however, that I seized with no little amount of “ stage fright ” now that I make my fi rs t appearance in this new character , although I was as willing to try my hand at autho t ship as the gentleman Vll viii P R E FA C E c o u d a who , when he was asked if he l pl y the “ ’ violin , said , I never have , but I don t mind trying ” ! My best thanks are offered , for kind per M r. G mission to use photographs , to . Hana, M r Bedford Street , Strand . Reinhold Thiele , M R Pr th ro e r. -
Sample Article #2
THE HISS OF DRAMATIC LICENSE /57 “Do You Believe in Fairies?”: The Hiss of Dramatic License Tracy C. Davis In the manipulation of character and circumstance, drama has the power to make the improbable seem natural. Neoclassical French dramaturgy, for example, sought such a tight relationship between plot, play structure, and language that tragic events were conveyed as “an inescapable burden.”1 Extreme convention is a form of license, in neoclassicism as much as in naturalism, though they are manifested differently. Spectators negotiate the conventions to understand as well as to assess plays. License implies contingency as well as agency: the free range of imagination within the playwright’s concomitant display of competence, constraint in tension with liberty, ironic attention to regimes of authority, and the baring of a device in tandem with its obscuring. The definition of dramatic license developed in this essay aims to avoid ascribing attributes redundantly with other already denotative terms. This builds on my earlier work on theatricality, in which the active dissociation of the spectator from an event is a crucial aspect of civil society that enables spectators, whether on the street or in the theatre, to ascribe what they witness as “theatricality.”2 I propose that dramatic license resembles poetic and artistic license insofar as the spectator is aware of conventions sufficiently to know they are invoked, but responds in something other than the customary way to the artist/instigator’s invitation to actively suspend disbelief while depending explicitly upon the awareness of how an event is framed by narrative and Tracy C. -
Written & Composed by Frank W. Egenon, and Sung with Great
480 (A) I want to go home to mamma! Written & composed by Frank W. Egenon, And Sung with Great Success by Fred. Coyne. Music Published by Hopwood and Crew. I once had a sweetheart, tho' her name it was Brown, she was most decidedly green, (B) Nelly Ray. Sung with success by Tom Bournley. I love a little country queen, ... [Wanting imprint] (628) 2 columns 211 x 130mm Woodcut at head of item (A). (Girl with hands together, crying) 22 x 15mm Woodcut at head of item (B). (Girl, head and shoulders) 56 x 46mm Band of type ornaments between columns. 481 Country hireings. Come all ye blooming country lads and listen unto me, W. Pratt, Printer, 82, Digbeth, Birmingham. 1 column 200 x 76mm [Text cut down slightly at right. Probably from a sheet originally containing two items] 482 The costermonger. I'm pre[ t]ty well known here in town ... Printed by T. Birt, wholesale and reta[i)l, 10, Great St Andrew-Street Seven Dials, London. 1 column 218 x 73mm [Probably from a sheet originally containing two items] 483 The blue eye'd farmer's boy. A farmer's lad at close of day, thro' the fields chanc'd to stray, Printed by T. Birt, wholesale and retail, 10, Great St. Andrew-Street, Seven Dials, London. Country Orders punctually attended to. Every description of Printing on reasonable terms. Children's Books, Battledores, Pictures, &c. 1 column 206 x 82mm [Probably from a sheet originally containing two items] 484 Maiden's lamentation for her Georgy. As I rode over London Bridge, .. -
Pica4 2007 Final Editto Publish
PICA, 4 (2007) Page 1 Dutch Daly: Comedy and Concertinas on the Variety Stage 1 RANDALL C. MERRIS The mayor of the town talks, in his public addresses, a lingo that would make the fortune of a vaudeville comedian of the Dutch Daly stripe . Iseult Kuhk, ‘Behind the Scenes in St. Louis’, The Iconoclast , 10 (1897), 81 And there’s Dutch Daly! I have never been quite able to understand why Dutch Daly is not made more of. He has a charm that is absolutely unique; and his story-telling is more delightful because of his musical art, that captivates and enchants. Penny Illustrated Paper , 18 February 1911 Introduction: William ‘Dutch’ Daly (1848-1924) was a popular comedian and concertinist throughout the golden age of the variety stage. 2 His career coincided with the development and evolution of variety entertainment on both sides of the Atlantic, and his comic and musical talents took him from American minstrelsy, burlesque, and vaudeville back to the music hall in his native Great Britain. A pioneer of German- dialect comedy, which grew into an immensely popular brand of variety-stage humor, 3 Dutch paired his comedy monologues with performances of popular music and novelty imitations on the concertina, which, though sometimes mentioned in variety reviews, were overshadowed by his celebrity as a ‘funny man’. Yet with the passing of time and the variety-stage era, Dutch was largely forgotten, both as a concertinist and as a comedian. Dutch’s popularity in the 1890s is documented by an indisputable symbol of success— a Dutch Daly caricature by Max Beerbohm, 4 famous for his witty portraits of writers, actors, politicians, and other British notables. -
PANTOMIMES, EXTRAVAGANZAS & BURLESQUES Catalogue: Helen Smith & Ed Nassau Lake
JARNDYCE 508 Jarndyce Antiquarian Booksellers 46, Great Russell Street Telephone: 020 7631 4220 (opp. British Museum) Fax: 020 7631 1882 Bloomsbury, Email: [email protected] London www.jarndyce.co.uk WC1B 3PA VAT.No.: GB 524 0890 57 CATALOGUE CCXLI SUMMER 2020 PANTOMIMES, EXTRAVAGANZAS & BURLESQUES Catalogue: Helen Smith & Ed Nassau Lake. Production: Carol Murphy & Ed Nassau Lake. All items are London-published and in at least good condition, unless otherwise stated. Prices are nett. Items marked with a dagger (†) incur VAT (20%) to customers within the EU. A charge for postage and insurance will be added to the invoice total. We accept payment by VISA or MASTERCARD, Bank Transfer and Sterling Cheque. High resolution images are available for all items, on request; please email: [email protected]. JARNDYCE CATALOGUES CURRENTLY AVAILABLE include: The Museum; The Dickens Catalogue; XIX Century Fiction, Part I A-K; Turn of the Century; Women Writers Parts I-IV; Books & Pamphlets 1505-1833; Plays, 1623-1980. JARNDYCE CATALOGUES IN PREPARATION include: 17th & 18th Century Books & Pamphlets; The Romantics, part I: A-C; XIX Century Fiction Part II, L-Z; English Language, including dictionaries. PLEASE REMEMBER: If you have books to sell, please get in touch with Brian Lake at Jarndyce. Valuations for insurance or probate can be undertaken anywhere, by arrangement. A SUBSCRIPTION SERVICE is available for Jarndyce Catalogues for those who do not regularly purchase. Please send £30.00 (£60.00 overseas) for four issues, specifying the catalogues you would like to receive. PANTOMIMES, EXTRAVAGANZAS & BURLESQUES ISBN: 978 1 910156-33-9 Price £10.00 Front cover adapted from item 469; back cover adapted from item 510 Brian Lake Janet Nassau INTRODUCTION Pantomime developed from the commedia dell’arte character of Harlequin; the ‘harlequinades’ of the early eighteenth century were mimed, with ‘slapstick & tomfoolery’. -
Chapter 6: Entertainment
Draft CHAPTER 6 Entertainment This chapter covers the main buildings erected for amusement in Battersea. It starts with an overview of the parish’s early inns and taverns, followed by an account of its robust riverside entertainments, suppressed when Battersea Park was created. Sections follow on music halls and theatres, the ephemeral Albert Palace, cinemas and obscurer entertainments. The Festival of Britain buildings and fairground of Battersea Park are discussed in Chapter 5, which also touches on some sports activities and structures. Swimming baths appear under public buildings in Chapter 1, while the standard public house attached to housing development may be found with its relevant area of housing in volume 50. Riverside entertainments and Battersea Fields Interest in Battersea’s pre-Victorian role as a place of entertainment has focussed on the Red House (below), and as a consequence on its immediate riverside neighbourhood of Battersea Fields. But looking further back, none of the three Battersea taverns recorded before 1714 whose sites have been identified was in Battersea Fields or on the riverside.1 All three survive in name if not in fabric. The Castle Inn in Battersea High Street is now an unassuming pub of 1965. The Plough, on St John’s Hill, has been three times rebuilt, most recently in 2009. The surviving Raven in Battersea Square incorporates fabric from the seventeenth century. It is first recorded in 1701 as the Black Raven, by which Survey of London © English Heritage 2013 1 Draft name it was known until the 1760s when the ‘black’ was gradually dropped. By then the lease included a blacksmith’s shop and several acres of land in Battersea Fields.2 The Black Raven is also mentioned in Charles Dibdin’s 1773 play The Watermen, or the First of August.