DOCSLIB.ORG

The Performing Arts on Film and Television Catalogue

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

THE PERFORMING ARTS ON FILM & TELEVISION CATALOGUE Film and video materials held by the archives and collections of BFI, Arts Council England, LUX, Central St Martins British Artists Film & Video Study Collection relating to theatre, dance, music, performance art, politics and poetry Balletomines, 1954 2011 Acknowledgements This catalogue was commissioned by MI:LL (Moving Image: Legacy and Learning), an Arts Council England initiative to support projects and develop strategies that promote engagement with the arts through the moving image. Researched, written, edited, designed and published by Helena Blaker James Bell Michael Brooke Elaine Burrows Bryony Dixon Christophe Dupin Jane Giles Amy Howerska Edward Lawrenson Deborah Salter Dan Smith Louise Watson With thanks to Karen Alexander, Nigel Algar, Nigel Arthur, Steve Bryant, Mike Caldwell, Ros Cranston, David Curtis, Will Fowler, Philippa Johns, Nathalie Morris, Patrick Russell, David Sin, Mike Sperlinger, Gary Thomas, Rebecca Vick, Ian White, Andrew Youdell and Juliane Zenke. All stills courtesy of BFI Stills, Posters & Designs A BFI Publication 2011 available to download from www.bfi.org.uk BFI 21 Stephen Street London W1T 1LN UK Telephone +44 (020) 7255 1444 www.bfi.org.uk 2 Contents Please click on a word/link to be taken automatically to that part of the Catalogue Acknowledgements................................................................................................................. 2 Contents ................................................................................................................................... 3 How to Access Films ............................................................................................................... 5 Introduction ........................................................................................................................... 10 Chapter 1: British Music Hall and Variety on Film 1895 - 1930 ....................................... 12 Introduction ........................................................................................................................ 12 Records of Performances and Actualities ....................................................................... 13 Music Hall Artistes and Themes in films made for Cinema......................................... 28 Films based on Music Hall Sketches and Plays .............................................................. 35 Fiction films about Music Hall .......................................................................................... 36 Chapter 2: Theatre................................................................................................................. 48 Introduction ........................................................................................................................ 48 Classical Theatre ................................................................................................................ 50 William Shakespeare (1564 – 1616) .................................................................................. 54 Seventeenth to nineteenth century playwrights ........................................................... 71 European Playwrights of the Twentieth Century........................................................... 85 Pre-War British and Irish Writers..................................................................................... 91 Post-War Theatre in Britain and Ireland....................................................................... 100 Other Dramatists:............................................................................................................. 128 American Theatre ............................................................................................................ 132 Television Drama ............................................................................................................. 140 Missing Believed Wiped................................................................................................... 147 Chapter 3: Dance ................................................................................................................. 154 Introduction ...................................................................................................................... 154 Classical Dance.................................................................................................................... 155 Ballet Film Collections ..................................................................................................... 155 Classical Performers......................................................................................................... 165 Choreographers & Companies........................................................................................ 178 Ballet Films........................................................................................................................ 198 Composers......................................................................................................................... 206 Modern, Postmodern and Contemporary Dance ............................................................ 211 Modern Performers .......................................................................................................... 212 Modern Dance Films ........................................................................................................ 227 Dance Films for the Camera ........................................................................................... 232 Contemporary Dance Film-Makers................................................................................ 237 Avant-Garde Dance Films ............................................................................................... 256 Folk Dance ......................................................................................................................... 272 Popular Dance and Entertainment................................................................................. 280 Chapter 4: Music.................................................................................................................. 297 Introduction ...................................................................................................................... 297 Musicals............................................................................................................................. 297 Opera.................................................................................................................................. 340 Composers......................................................................................................................... 373 Performers......................................................................................................................... 385 Instruments....................................................................................................................... 400 Folk Music.......................................................................................................................... 402 Jazz Music.......................................................................................................................... 405 3 Popular music ................................................................................................................... 414 World Music ...................................................................................................................... 530 Feature films with music themes (A-Z)......................................................................... 535 Music: See also.................................................................................................................. 540 Chapter 5: Performance Art and Artists’ Film & Video .................................................. 542 Introduction ...................................................................................................................... 542 Artistic Contexts............................................................................................................... 543 Chapter 6: From Politics to Poetry..................................................................................... 657 Introduction ...................................................................................................................... 657 Speech and deconstructing language............................................................................ 657 Political Oratory ................................................................................................................ 660 Propaganda........................................................................................................................ 664 Protest ................................................................................................................................668 Identity............................................................................................................................... 677 Social Order....................................................................................................................... 696 Film Poems & Adaptations (A-Z) .................................................................................... 708 Poets and Poetry ............................................................................................................... 726 Chapter 7: Cinema Acting Styles......................................................................................
Recommended publications
  • Or, Read the PDF Version of the Spring 2013 Magazine

    Or, Read the PDF Version of the Spring 2013 Magazine

    Spring 2013 Golden moments at the Minster University marks its 50th Anniversary THROUGH THE STAINED GLASS: CAPTURING THE WONDER OF RESTORATION EXHIBITION UNLOCKS MYSTERIES OF STONE AGE HOUSE PROTECTING THE CHAMPIONS OF CHANGE 15 magazine CONTENTS Spring 2013 Produced by Communications Office Spotlight University of York Heslington York YO10 5DD A Stone Age house unlocked 15 Telephone: +44 (0)1904 322622 Protecting the champions 16 Director of External Relations of change Joan Concannon Restoring a national treasure 18 Editor Jilly Lovett Assistant Editor Alice Jenkins Editorial team Exhibition to showcase Star Carr David Garner, Suzy Harrison, William Haydon and Sheila Perry 9 Photography Suzy Harrison Copy deadlines www.york.ac.uk/magazine Email 18 [email protected] Working to restore the Great East Window in The Communications Office reserves the right to edit York Minster submissions Design The Studio Mystery ring sheds light on York’s past University of York Telephone: +44 (0)1904 328414 www.studio.crevado.com University highlights 16 Printed by University marks 50th 3 Wyke Printers, Hull Anniversary celebrations The University of York Magazine ©University of York. If you require this publication in an January graduation ceremonies 7 alternative format visit www. york.ac.uk/magazine York Concerts 8 York in pictures Life and work at York 11 In memoriam 21 University news At the chalk face 22 8 Karak Denyok, one of York’s human rights defenders Alan Ayckbourn in the audience the university of york magazine 50TH ANNIVERSARY 3 York Minster launch for 50th Anniversary The University of York returned to the scene of its inauguration at York Minster for a 50th Anniversary celebration which proved an inspirational start to a year-long calendar of Anniversary events.
  • BBC AR Front Part 2 Pp 8-19

    BBC AR Front Part 2 Pp 8-19

    Executive Committee Greg Dyke Director-General since Jana Bennett OBE Director of Mark Byford Director of World customer services and audience January 2000, having joined the BBC Television since April 2002. Service & Global News since research activities. Previously as D-G Designate in November Responsible for the BBC’s output October 2001. Responsible for all European Director for Unilever’s 1999. Previously Chairman and Chief on BBC One, BBC Two, BBC Three the BBC’s international news and Food and Beverages division. Former Executive of Pearson Television from and BBC Four and for overseeing information services across all media positions include UK Marketing 1995 to 1999. Former posts include content on the UKTV joint venture including BBC World Service radio, Director then European Marketing Editor in Chief of TV-am (1983); channels and the international BBC World television and the Director with Unilever’s UK Food Director of Programmes for TVS channels BBC America and BBC international-facing online news and Beverages division and (1984), and Director of Programmes Prime. Previously General Manager sites. Previously Director of Regional Chairman of the Tea Council. (1987), Managing Director (1990) and Executive Vice President at Broadcasting. Former positions and Group Chief Executive (1991) at Discovery Communications Inc. include Head of Centre, Leeds and Carolyn Fairbairn Director of London Weekend Television. He has in the US. Former positions include Home Editor Television News. Strategy & Distribution since April also been Chairman of Channel 5; Director of Production at BBC; Head 2001. Responsible for strategic Chairman of the ITA; a director of BBC Science; Editor of Horizon, Stephen Dando Director of planning and the distribution of BBC of ITN, Channel 4 and BSkyB, and and Senior Producer on Newsnight Human Resources & Internal services.
  • •K HIGH SCHOOL PLANS PAGEANT DR. KEMMERER WILL SPEAK ON

    •K HIGH SCHOOL PLANS PAGEANT DR. KEMMERER WILL SPEAK ON

    ^ g i ESTABLISHED I l l t t •k COMPLETE COVERAGE OF MILL BURN TOWNSHIP INCLUDING WYOMING VOL XLVII.—NO. 20 Millburn, New Jersey, Friday, May 1 7, 1935 PRICE FIVE CENTS Millburn Leading League, Will HIGH SCHOOL Commonwealth Water Offer 1 FRANK WRIGHT, Open Home Season Here Saturday PLANS PAGEANT FORMER ITEM Of Settlement Is Refused Chairman Barker Will Toss First Ball As Blues To Celebrate Anniver­ Six Per Cent Reduction on Grots Bills is Consid­ Take Up Pennant March—Knothe sary of First Free Pub­ OWNER, DEAD ered Too Small— Three Towns :*-.i« Batting Star of Opener lic School Bought and Ran Paper „ i U ■ ■ ■ O P P OSO # ^ ^ ..... ’’M B M ............... ..... ; , - ^, J' J#*S» I I I ■■ ; V V : w 'j ~ V '-1; — '• ‘ Stephen 0w*»r. ehalnneo ai th e LACKAWANNA BASEBALL w JttUburnf ...... I ! Mere Forty Yean P erhaps wearying of the litigation, too, perhaps warped by the finding* a n htie of the most spectacular pageants Ago In-recent cases by the State Public Utility Commission the Commonwealth toss up the first hall here tomorrow produced in the Bute wttUn recent Standing of the Teams Water Company last week made an offer of settlement of the fight of five years. The thrCe^TiundreaHt anni­ afternoon as the Millburn Blues open w . L. P t t Funeral *erviees for Frank Wright municipalities, of which Millburn Is one, for lower water rates. , . „ versary of the founding of the Boston 'JkM their home season In the Lackawanna Millburn ... 0 1.000 were held Monday evening at the Latin School, (he first free high school i f ■ The proposal of the company was that the five towns accept a flat six Chatham ..
  • Frank Grace – Interview Transcript

    Frank Grace – Interview Transcript

    THEATRE ARCHIVE PROJECT http://sounds.bl.uk Frank Grace – interview transcript Interviewer: Clare Brewer 8 December 2008 Theatre goer. Anna Lucasta; Windsor Rep; The Gioconda Smile; September Tide; The Second Mrs Tanqueray; Oklahoma; Annie Get your Gun; Shakespeare; The Old Vic; Peter Brook; Olivier; Amateur Theatre; Woolford; Look back In Anger; Encore; Theatre Cruelty; Roots; Tis Pity She’s a Whore; A View From the Bridge; Censorship; Theatre Clubs; The Bald Prima Donna; Oh What a Lovely War; Arthur Miller. This transcript has been edited by the interviewee and thus differs in places from the recording. CB: How did you first become interested in theatre? FG: I suppose through [act]ing at school, but in terms of any serious theatre going I suppose it goes back to the late 1940’s... interestingly enough, when I re-looked at the [programmes] that I have got, the first play that I saw [in] the West End was most unusual for the late 1940’s, it was a play called Anna Lucasta,an American play; what was unusual for the 1940s was that it was an all black cast. CB: Really… FG: And it was about a prostitute and my parents took me [laughs] and I think they must have been slightly worried because I was fourteen at the time and it was one of my first experiences. But that was not typical of the first sort of phase of my theatre-going between that moment in 1949 and about 1951 I suppose and [after where] something dramatic begins to happen, I think.
  • What Are They Doing There? : William Geoffrey Gehman Lehigh University

    What Are They Doing There? : William Geoffrey Gehman Lehigh University

    Lehigh University Lehigh Preserve Theses and Dissertations 1989 What are they doing there? : William Geoffrey Gehman Lehigh University Follow this and additional works at: https://preserve.lehigh.edu/etd Part of the English Language and Literature Commons Recommended Citation Gehman, William Geoffrey, "What are they doing there? :" (1989). Theses and Dissertations. 4957. https://preserve.lehigh.edu/etd/4957 This Thesis is brought to you for free and open access by Lehigh Preserve. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. • ,, WHAT ARE THEY DOING THERE?: ACTING AND ANALYZING SAMUEL BECKETT'S HAPPY DAYS by William Geoffrey Gehman A Thesis Presented to the Graduate Committee of Lehigh University 1n Candidacy for the Degree of Master of Arts 1n English Lehigh University 1988 .. This thesis 1S accepted and approved in partial fulfillment of the requirements for the degree of Master of Arts. (date) I Professor 1n Charge Department Chairman 11 ACD01fLBDGBNKNTS ., Thanks to Elizabeth (Betsy) Fifer, who first suggested Alan Schneider's productions of Samuel Beckett's plays as a thesis topic; and to June and Paul Schlueter for their support and advice. Special thanks to all those interviewed, especially Martha Fehsenfeld, who more than anyone convinced the author of Winnie's lingering presence. 111 TABLB OF CONTBNTS Abstract ...................•.....••..........•.•••••.••.••• 1 ·, Introduction I Living with Beckett's Standards (A) An Overview of Interpreting Winnie Inside the Text ..... 3 (B) The Pros and Cons of Looking for Clues Outside the Script ................................................ 10 (C) The Play in Context ..................................
  • Introduction: Intuition/Image/Event: 'Beckett's Peephole' As Audio

    Introduction: Intuition/Image/Event: 'Beckett's Peephole' As Audio

    Notes Introduction: Intuition/Image/Event: ‘Beckett’s Peephole’ as Audio- Visual Rhizome 1. The quote is from Beckett’s The Unnamable. 2. Beckett first outlines this concept in his 1932 novel, Dream of Fair to Middling Women, where the character Belacqua desires to write a book whereby ‘The experience of my reader shall be between the phrases, in the silence, communicated by the intervals, not the terms, of the statement.’ Beckett (1992), p. 138. 3. I will discuss this distinction in Chapter 1. 4. See Uhlmann (1999), specifically chapter 2; (2004), pp. 90–106; and (2006). 1 Thinking the Unthinkable: Time, Cinema and the Incommensurable 1. They could thus be said to be more ‘thallic’ than ‘phallic’, horizontally fugitive rather than vertically hierarchical, molecular rather than molar. On the ‘ thallic’, see Weber (1982), pp. 65–83. 2. The Proustian implications of this temporal multiplicity are obvious, although Proust, like Beckett, is less concerned with duration, the past-present’s ability to ‘move on’ as becoming- future, than with the role of memory as a means of destroying the pernicious influence of habit. His distinction between voluntary and involuntary memory is predicated on a desire to preserve lost time as it survives in itself, the better to regain it for ourselves as art. 3. See Bellour (1977), pp. 66–91; (1986), pp. 66–101. 4. The reference to Wim Wender’s Falsche Bewegung (1975) is not uncoincidental. Wenders is paradigmatic of one aspect of the crystal- image in Cinema 2. See pp. 76–8. 5. For Nietzsche’s eternal return as an affirmation of difference, see Deleuze (1983).
  • Shakespeare on Film, Video & Stage

    Shakespeare on Film, Video & Stage

    William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994.
  • Shakespeare, William Shakespeare

    Shakespeare, William Shakespeare

    Shakespeare, William Shakespeare. Julius Caesar The Shakespeare Ralph Richardson, Anthony SRS Caedmon 3 VG/ Text Recording Society; Quayle, John Mills, Alan Bates, 230 Discs VG+ Howard Sackler, dir. Michael Gwynn Anthony And The Shakespeare Anthony Quayle, Pamela Brown, SRS Caedmon 3 VG+ Text Cleopatra Recording Society; Paul Daneman, Jack Gwillim 235 Discs Howard Sackler, dir. Great Scenes The Shakespeare Anthony Quayle, Pamela Brown, TC- Caedmon 1 VG/ Text from Recording Society; Paul Daneman, Jack Gwillim 1183 Disc VG+ Anthony And Howard Sackler, dir. Cleopatra Titus The Shakespeare Anthony Quayle, Maxine SRS Caedmon 3 VG+ Text Andronicus Recording Society; Audley, Michael Horden, Colin 227 Discs Howard Sackler, dir. Blakely, Charles Gray Pericles The Shakespeare Paul Scofield, Felix Aylmer, Judi SRS Caedmon 3 VG+ Text Recording Society; Dench, Miriam Karlin, Charles 237 Discs Howard Sackler, dir. Gray Cymbeline The Shakespeare Claire Bloom, Boris Karloff, SRS- Caedmon 3 VG+ Text Recording Society; Pamela Brown, John Fraser, M- Discs Howard Sackler, dir. Alan Dobie 236 The Comedy The Shakespeare Alec McCowen, Anna Massey, SRS Caedmon 2 VG+ Text Of Errors Recording Society; Harry H. Corbett, Finlay Currie 205- Discs Howard Sackler, dir. S Venus And The Shakespeare Claire Bloom, Max Adrian SRS Caedmon 2 VG+ Text Adonis and A Recording Society; 240 Discs Lover's Howard Sackler, dir. Complaint Troylus And The Shakespeare Diane Cilento, Jeremy Brett, SRS Caedmon 3 VG+ Text Cressida Recording Society; Cyril Cusack, Max Adrian 234 Discs Howard Sackler, dir. King Richard The Shakespeare John Gielgud, Keith Michell and SRS Caedmon 3 VG+ Text II Recording Society; Leo McKern 216 Discs Peter Wood, dir.
  • 1 the Association for Diplomatic Studies and Training Foreign Affairs

    1 the Association for Diplomatic Studies and Training Foreign Affairs

    The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project AMBASSADOR THOMAS N. HULL III Interviewed by: Daniel F. Whitman Initial Interview Date: January 8, 2010 Copyri ht 2012 ADST TABLE OF CONTENTS Background Born in New York, raised in Massachusetts Educated at Dickinson College and Columbia University Sierra Leone: Peace Corps Volunteer; Primary school teacher 19681c1.22 ,illage environment Living conditions Ambassador Robert Miner Fellow Peace Corps volunteers Fianc5e Columbia (niversity: Student, Education and International Affairs 1.2211.23 Degrees: International Education and International Affairs African studies ew York City, NY- Institute of International Education 8IIE9 1.2311.26 Fulbright Program Senator Fulbright :oined the Foreign Service: (SIA 1.26 Kinshasa, Democratic Republic of Congo: Public Affairs Trainee 1.2611.22 Mobutu and Mama Mobutu Program officers (SIA staff and operations (SAID Security Belgians Environment Closeing Consulate Kisangani 8former Stanleyville9 Brazzaville, Republic of the Congo- TDY Public Affairs Officer 1.22 Communist government 1 Concerts Kinshasa, 8Continued9 1.2211.20 Environment Mobuto’s Zairian art collection Feccan Fair Personnel issues Pretoria, South Africa: Assistant Cultural Affairs Officer 1.2011.00 Effects of Soweto riots Apartheid Afrikaners on1Afrikaner whites Cleveland International Program Crossroads Africa (S policy International ,isitors Program Ambassador Edmonson Ambassador Bowdler Personnel Black entrepreneurs Official entertainment Foreign
  • Tamarkan Convalescent Camp Sears Eldredge Macalester College

    Tamarkan Convalescent Camp Sears Eldredge Macalester College

    Macalester College DigitalCommons@Macalester College Book Chapters Captive Audiences/Captive Performers 2014 Chapter 5. "The aT markan Players Present ": Tamarkan Convalescent Camp Sears Eldredge Macalester College Follow this and additional works at: http://digitalcommons.macalester.edu/thdabooks Recommended Citation Eldredge, Sears, "Chapter 5. "The aT markan Players Present ": Tamarkan Convalescent Camp" (2014). Book Chapters. Book 17. http://digitalcommons.macalester.edu/thdabooks/17 This Book is brought to you for free and open access by the Captive Audiences/Captive Performers at DigitalCommons@Macalester College. It has been accepted for inclusion in Book Chapters by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. 152 Chapter 5: “The Tamarkan Players Present” Tamarkan Convalescent Camp It was early December 1943 when Brigadier General Arthur Varley and the first remnants of A Force from Burma arrived at their designated convalescent camp in Tamarkan, Thailand, after a long journey by rail. As their train traversed the wooden bridges and viaducts built by their counterparts, they passed the construction camps where the POWs in Thailand anxiously awaited their own redeployment back to base camps. When they entered Tamarkan, they found a well-ordered camp with a lean-to theatre left by the previous occupants. Backstory: October 1942–November 1943 Tamarkan was “the bridge camp”—the one made famous by David Lean’s film The Bridge on the River Kwai, based on the novel by Pierre Boulle.i There were, in fact, two bridges built at Tamarkan: first a wooden one for pedestrian and motor vehicle traffic that served as a temporary railway trace until the permanent concrete and steel railway bridge could be completed just upriver of it.
  • Report Title Here Month Here

    Report Title Here Month Here

    Alcohol & Soaps Drinkaware Media Analysis September 2010 © 2010 Kantar Media 1 CONTENTS •Introduction 3 •Executive Summary 5 •Topline results 7 •Coronation Street 16 •Eastenders 23 •Emmerdale 30 •Hollyoaks 37 •Appendix 44 Please use hyperlinks to quickly navigate this document. © 2010 Kantar Media 2 INTRODUCTION •Kantar Media Precis was commissioned to conduct research to analyse the portrayal of alcohol and tea in the four top British soap operas aired on non-satellite television, Coronation Street, Eastenders, Emmerdale and Hollyoaks. The research objectives were as follows: •To explore the frequency of alcohol use on British soaps aired on non-satellite UK television •To investigate the positive and negative portrayal of alcohol •To explore the percentage of interactions that involve alcohol •To explore the percentage of each episode that involves alcohol •To assess how many characters drink over daily guidelines •To explore the relationship between alcohol and the characters who regularly/excessively consume alcohol •To look further into the link between the location of alcohol consumption and the consequences depicted •To identify and analyse the repercussions, if any, of excessive alcohol consumption shown •To explore the frequency of tea use on British soaps aired on non-satellite UK television •Six weeks of footage was collected for each programme from 26th July to 6th September 2010 and analysed for verbal and visual instances of alcohol and tea. •In total 21.5 hours was collected and analysed for Emmerdale, 15.5 hours for Coronation Street, 15.5 hours for Hollyoaks and 13 hours for Eastenders. © 2010 Kantar Media 3 INTRODUCTION cont. •A coding sheet was formulated in conjunction with Drinkaware before the footage was analysed which enabled us to track different types of beverages and their size (e.g.
  • Melissa Bellanta 62 Ibid

    Melissa Bellanta 62 Ibid

    NICOLE ANAE 60 Atay Citron, `Words, Meanings, Pigs - The Struggle of Visual Theatre Against The Larrikin 's Hop: Larrikinism and the Tyranny of the Word', MOTAR Journal of the Yolanda and David Katz Faculty of the Arts 6 (June 1998): 260. Online: Late Colonial Popular Theatre http://www.tau.ac.il/arts/projects/PUB/motar/pdf eng/motar6eng.pdf. Accessed 23 November 2006. 61 Ibid. Melissa Bellanta 62 Ibid. 63 Scottish Arts Council, `Theatre and Style: Physical Theatre'. Online: long with the shearer, <http://www. scottisharts.org.ukl l lartsinscotlandldramalfeatures/archive/themeph the suffragist and the bohemian, the larrikin is one ysicaltheatre.aspx>. Accessed 2 November 2006. Aof the standard characters through which late colonial Australia is imagined. Time and again, 64 Peter Schumann, `The Radicality of the Puppet Theatre', The Drama Review 35, we hear the same things said about him : that his 4 (1991): 77. name probably came from the expression ` larkin' about'; that he could be identified by his swagger, 65 Jim Morrow, `Mermaid Theatre and its Place in Canadian Puppetry', Canadian his leer and fancy boots; that he belonged to street Theatre Review 95 (Summer 1998). `pushes' with rogueish names like the Flying Angels ; and that he acted as a 66 Nicholls. repository for anxieties about sexuality and urban life.' Accounts of larrikinism are commonly based on key sources - police reports, newspapers, social commentary and literature.2 What emerges from these is a highly theatrical image of the larrikin . He appears as a colonial bovver-boy, kitted out with red neck-cloth and lustful grimace - or else as a rough diamond with a heart o 'gold and a taste for jollity.