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The Performance of Place and Comedy Explored Through Postdramatic and Popular Forms with Reference to the Staging of 'A Good Neet Aht'

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The Performance of Place and Comedy Explored Through Postdramatic and Popular Forms with Reference to the Staging of 'A Good Neet Aht' THE PERFORMANCE OF PLACE AND COMEDY EXPLORED THROUGH POSTDRAMATIC AND POPULAR FORMS WITH REFERENCE TO THE STAGING OF 'A GOOD NEET AHT' Philip Green University of Salford School of Arts and Media Submitted in partial fulfilment of the requirements of the degree of Doctorate of Philosophy (PhD) 2020 Table of contents i List of tables vi List if images and photographs vii Acknowledgements viii Abstract ix Curtain up: The journey begins 1 1. Beginnings: mapping out the journey 2 1.1 Aims and objectives 2 1.2 Autoethnography 3 1.3 Place 5 1.4 Performance: the postdramatic and the popular 7 1.4.1 Postdramatic 8 1.4.1.1 A contested landscape 8 1.4.1.2 Panorama of the postdramatic 8 1.4.2 Popular performance 9 1.5 Structure 11 1.5.1 Chapter 2: Planning the journey’s route: Methodology 11 1.5.2 Chapter 3: Surveying the landscape for the journey ahead: place, class, performance 11 1.5.3 Chapter 4: The journey into performance: key concepts in the analysis of performing place and comedy 12 1.5.4 Chapter 5: An audience of travelling companions: The iterations of A Good Neet Aht and audience response 12 1.5.5 Chapter 6: Arrivals and Departures: Conclusion 12 1.6 Gaps in knowledge and original contribution 13 1.6.1 Northern stereotypes and stand-up comedy 13 1.6.2 Original contribution 13 Entr’acte 1: 1, Clifton Road, Sharlston 14 2. Planning the journey’s route: Methodology 15 2.1 Autoethnography 15 2.1.1 Autoethnography and place 15 2.1.2 Performative-I 16 2.1.3 Performative-I persona and dialogical performance 17 2.2 Geographical space in the studio and the reading of maps 18 2.3 Popular performance and the comic-I 22 2.3.1 Reading stand-up 23 i 2.3.1.1 Kowzan and analysis of the ‘mother in law and the shark’ 27 2.3.1.2 Pavis and ‘blowing raspberries’ 28 2.4 Destinations: Iterations of A Good Neet Aht 32 Entr’acte 2: 36, Clifton Road, Sharlston 35 3. Surveying the landscape for the journey ahead: place, class, performance 36 3.1 Place and Class: occupancy into identity 36 3.1.1 Class 37 3.1.2 Hoggart and The Uses of Literacy 39 3.2 Place and identity: remembering and revisiting/reimagining 40 3.2.1 The North: setting the stage 41 3.2.2 The North: journeys through a place of laughter or a place to be laughed at 45 3.2.3 A comedy map and some stereotypes 46 3.2.4 Uses of the North and comic identities: three case studies in comedy and place 49 3.3 Popular performance: Reading stand-up to determine the route 53 3.3.1 Development and affect 55 3.3.2 Comedy and the North: a family tree 57 Entr’acte 3: Rob Wilton, Liverpool 60 4. The journey into performance: key concepts in the analysis of performing place and comedy 61 4.1 Autoethnography 62 4.1.1 Memory and recollecting the journey 62 4.1.2 Memory and place 62 4.1.3 The performative-I: a journey towards identity 63 4.1.4 An emerging performative-I persona: The North Will Rise Again as embarkation point 64 4.1.4.1 Hoggart as a signpost to identity and stage personas 66 4.1.5 Dead ends: questions of identity and editing the text: Scene 7 Northern enough 69 4.1.6 Travelling through Hoggart’s Landscape with Figures: Scene 11 - George Green/rugby league/Don Fox; ii Scene 13 Jack, Margaret and Joe; Scene 17 Edith and Johnny; Scene 20 Polly; Scene 22 Parties. 70 4.1.7 On memory and questioning the direction of travel: Scene 15 Photograph 71 4.1.8 Identity, memory and the postdramatic irruption of the real: Scene 24 On difference 73 4.2 A Postdramatic Good Neet Aht 74 4.2.1 The Post Show Party Show and A Good Neet Aht: a comparison of fellow travellers 75 4.3 Popular performance 83 4.3.1 Fellow travellers: the Popular and the Postdramatic: Scene 1 Opening; Scene 3 Les Dawson; Scene 4 Beginnings 83 4.3.2 Shifting personas: stand-up in A Good Neet Aht 85 4.3.2.1 On the real and the fictive: borrowing from the documentary form 86 4.3.2.2 From documentary to site-specific and the layering of place: haunting stand-up 87 4.3.2.3 Haunting stand-up: the functional and the Uncomfortable 88 4.4 Place: personal and cultural journeys 93 4.4.1 Constructing a sense of place: Scene 5 Mapping Sharlston; Scene 6 The First Kiss 94 4.4.2 Popular culture and place or Landscape with drinking figures (after Hoggart): Scene 8 John Smith’s; Scene 14 Webster’s Pennine Bitter; Scene 19 Ready when you are, Bob. 96 4.4.3 Being ‘othered’: place and identity: Scene 9 Sharlston 1 and Scene 18 Sharlston 2 98 Entr’acte 4: Bernard Manning, Manchester 100 5. An audience of travelling companions: The iterations of A Good Neet Aht and audience response in the context of the popular and the postdramatic 101 5.1 Performances 101 iii 5.1.1 Performance 1: February 2017, Nottingham College and Performance 2: November, 2017, Wakefield College 101 5.1.2 Performance 3: February, 2018, Nottingham College 103 5.1.3 Performance 4: October, 2018, Leeds Beckett University 104 5.1.4 Performance 5: November, 2018, Bilborough 6th Form College, Nottingham 104 5.1.5 Performance 6: February, 2019, The Sharlston Rovers Club (formerly Sharlston Working Men’s Club), West Yorkshire and Performance 7 February, 2019, Crookes Social Club, Sheffield 105 5.1.6 Performance 8, August, 2019, Digital Performance Lab, Media City, University of Salford 109 5.2 Audience response 110 5.2.1 The performer’s identity has been shaped by the places he has lived 111 5.2.2 It is a universal truth that we have no control over our place of birth but we live with the consequences forever 112 5.2.3 Your perception of place depends on your class 113 5.2.4 Place is defined by the people that live there 114 5.2.5 If you’re working-class you have a stronger sense of place 115 5.3 ‘Irreverent background noise and shit beer’: From A Good Night Out to A Good Neet Aht 116 5.3.1 Directness 117 5.3.2 Comedy 117 5.3.3 Music 117 5.3.4 Emotion 118 5.3.5 Variety 118 5.3.6 Effect 119 5.3.7 Immediacy 119 5.3.8 Localism 119 Entr’acte 5: remembering the way 121 6. Arrivals and Departures: Conclusion 122 6.1 A landscape of doubts 122 6.2 Contemporary relevance 125 6.3 Unexplored backroads and future directions of travel 127 6.3.1 The Pyschogeographic Stage 127 iv 6.3.2 The Vernacular Stage 128 6.4 Autoethnography, popular performance and the postdramatic: travelling towards new ways of thinking 129 6.4.1 Direct connection between performer and audience, eschewing any notion of the fourth wall. 130 6.4.2 Rooted in the present moment, directly acknowledging the performance situation and engaging with topical events. 131 6.4.3 An interlacing of performer and role, which might, for example, involve the performer playing him- or herself. 132 6.4.4 Embraces skill and novelty 133 Curtain: new beginning? 137 Appendix 1: Script: A Good Neet Aht 138 Appendix 2: Les Dawson: The Good Old Days, 1983 163 Appendix 3A: Questionnaires (Sheffield) 168 Appendix 3B: Questionnaires (Sharlston) 237 List of references 275 Bibliography 280 v List of tables Table 1: Kowzan performance elements 26 Table 2: Kowzan and analysis of the ‘mother in law and the shark’ 27 Table 3: Pavis and ‘blowing raspberries 28 Table 4: Russell’s images of the North 48 Table 5: Self-identification of class belonging 111 Table 6: Question 1 111 Table 7: Question 2 112 Table 8: Question 3 113 Table 9: Question 4 114 Table 10: Question 5 115 vi List of images and photographs Image 1: Les Dawson 1 Image 2: Wakefield Express clipping 14 Image 3: Marking out the space 18 Image 4: Stage geography 19 Image 5: Britannica kids map 20 Image 6: Aviation Ancestry map 21 Image 7: British towns and villages network 21 Image 8: the spotlight lab 22 Image 9: George Green 35 Image 10: George Green (R) Yorkshire ARL 35 Image 11: Stand-up No.1 60 Image 12: Rob Wilton 60 Image 13: The Post Show Party Show staging showing chair arrangement 76 Image 14: A Good Neet Aht (Derby Theatre, November, 2019) staging 76 Image 15: Bernard Manning 100 Image 16: Stand-up No.2 100 Image 17: Sharlston WMC stage 105 Image18: Sharlston WMC concert room from stage 106 Image 19: AGNA set on Sharlston stage 106 Image 20: Crookes Social Club concert room 108 Image 21: AGNA set on Crookes stage 108 Image 22: Wakefield Express rugby team 121 Image 23: Performance-place-identity 125 Image 24: ‘And now I’m looking for an ending…’ 137 vii Acknowledgments I would like to express my gratitude to my supervisors, Richard Talbot and Lloyd Peters, for their guidance, expertise, clarity and good humour throughout this research. I owe a debt to past family members who appear in this work for providing me with such rich memories to mold performance from.
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