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A Sheffield Hallam University Thesis
How do I look? Viewing, embodiment, performance, showgirls, and art practice. CARR, Alison J. Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/19426/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/19426/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. How Do I Look? Viewing, Embodiment, Performance, Showgirls, & Art Practice Alison Jane Carr A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Doctor of Philosophy ProQuest Number: 10694307 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10694307 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Declaration I, Alison J Carr, declare that the enclosed submission for the degree of Doctor of Philosophy, and consisting of a written thesis and a DVD booklet, meets the regulations stated in the handbook for the mode of submission selected and approved by the Research Degrees Sub-Committee of Sheffield Hallam University. -
The American Film Musical and the Place(Less)Ness of Entertainment: Cabaret’S “International Sensation” and American Identity in Crisis
humanities Article The American Film Musical and the Place(less)ness of Entertainment: Cabaret’s “International Sensation” and American Identity in Crisis Florian Zitzelsberger English and American Literary Studies, Universität Passau, 94032 Passau, Germany; fl[email protected] Received: 20 March 2019; Accepted: 14 May 2019; Published: 19 May 2019 Abstract: This article looks at cosmopolitanism in the American film musical through the lens of the genre’s self-reflexivity. By incorporating musical numbers into its narrative, the musical mirrors the entertainment industry mise en abyme, and establishes an intrinsic link to America through the act of (cultural) performance. Drawing on Mikhail Bakhtin’s notion of the chronotope and its recent application to the genre of the musical, I read the implicitly spatial backstage/stage duality overlaying narrative and number—the musical’s dual registers—as a means of challenging representations of Americanness, nationhood, and belonging. The incongruities arising from the segmentation into dual registers, realms complying with their own rules, destabilize the narrative structure of the musical and, as such, put the semantic differences between narrative and number into critical focus. A close reading of the 1972 film Cabaret, whose narrative is set in 1931 Berlin, shows that the cosmopolitanism of the American film musical lies in this juxtaposition of non-American and American (at least connotatively) spaces and the self-reflexive interweaving of their associated registers and narrative levels. If metalepsis designates the transgression of (onto)logically separate syntactic units of film, then it also symbolically constitutes a transgression and rejection of national boundaries. In the case of Cabaret, such incongruities and transgressions eventually undermine the notion of a stable American identity, exposing the American Dream as an illusion produced by the inherent heteronormativity of the entertainment industry. -
Lifestyle Features Wednesday, January 29, 2020
Established 1961 21 Lifestyle Features Wednesday, January 29, 2020 In this file photo taken on February 27, 1989 French Cabaret artist In this file photo taken on June 7, 2016 French cabaret director and French cabaret director Michel Georges Alfred Catty, also Michel Georges Alfred Catty, also known as Michou, poses with known as Michou performs at the ‘Paradis Latin’ during a TV stuffed animals in his house in Paris. Waiters of Michou Cabaret serve clients in Paris. — AFP photos show for the centenary of the Parisian cabaret in Paris. ichou, a legend of the Paris night famous women for after-dinner entertain- Mscene who helped inspire the comedy ment in his simple bar in the city’s northern classic “La Cage aux Folles”, died Montmartre district. “I imitated Brigitte Sunday at the age of 88. A trailblazer who Bardot, finishing my number almost naked... established drag cabaret in France, Michou for the time, it was very cheeky,” he says on died in a Paris hospital, Francois Deblaye, a his club’s website. spokesman for his Chez Michou theatre, told AFP. Michou, whose real name was Michel ‘Michettes’ Catty, was a fixture of Paris nightlife for more He and his friends repeated the perform- than 60 years, unmistakable in his top-to-toe ance and soon the barmen and waiters were all-blue outfits and chunky dark glasses. swapping aprons after their shifts for outra- geous gowns, wigs and false eyelashes. Michou and his camped-up “Michettes” became icons of Paris’s saucy nightlife, alongside the larger, more conventional cabarets of the Moulin Rouge, Lido and Crazy Horse. -
That World of Somewhere in Between: the History of Cabaret and the Cabaret Songs of Richard Pearson Thomas, Volume I
That World of Somewhere In Between: The History of Cabaret and the Cabaret Songs of Richard Pearson Thomas, Volume I D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Rebecca Mullins Graduate Program in Music The Ohio State University 2013 D.M.A. Document Committee: Dr. Scott McCoy, advisor Dr. Graeme Boone Professor Loretta Robinson Copyright by Rebecca Mullins 2013 Abstract Cabaret songs have become a delightful and popular addition to the art song recital, yet there is no concise definition in the lexicon of classical music to explain precisely what cabaret songs are; indeed, they exist, as composer Richard Pearson Thomas says, “in that world that’s somewhere in between” other genres. So what exactly makes a cabaret song a cabaret song? This document will explore the topic first by tracing historical antecedents to and the evolution of artistic cabaret from its inception in Paris at the end of the 19th century, subsequent flourish throughout Europe, and progression into the United States. This document then aims to provide a stylistic analysis to the first volume of the cabaret songs of American composer Richard Pearson Thomas. ii Dedication This document is dedicated to the person who has been most greatly impacted by its writing, however unknowingly—my son Jack. I hope you grow up to be as proud of your mom as she is of you, and remember that the things in life most worth having are the things for which we must work the hardest. -
Spectacles Cabaret La Nouvelle Distillerie Théâtre Et Humour Et Théâtre Journées Événements Spectacles Shows Télévisés Shows
parc salons et événements salons et 2013 Cabarets concerts Spectacles Cabaret La Nouvelle Distillerie théâtre et humour et théâtre Journées Événements spectacles Shows télévisés Shows Printemps - Été - Automne 2013 journées tourisme Voyager... une histoire de passion ! Sommaire TOURISME SPECTACLE Montmartre, Chez Ma Cousine - Fête des Grands-mères ............ p.4 Celtic Festival ...................................................p.9 Coup de cœur Dîner-croisière sur la Seine - Paris Essentiel ....................... p.4 Les plus belles danses du monde .................................p.9 Déjeuner-croisière sur la Seine ................................... p.4 Sister Act, le dieu des musicals ...................................p.9 Coulisses du Lido et Canal Saint-Martin ........................... p.4 Croisière Seine et Coulisses de la Tour Eiffel ....................... p.4 CONCERT Coup Les 1 000 musiques de film de Vladimir Cosma. p.9 de cœur Art de vivre parisien : Montparnasse et Musée Fragonard .......... p.4 Déjeuner-dansant au Chalet du Lac de St Mandé ...................p.5 Serge Lama « Mes plus belles chansons » ........................p.9 Marché de Rungis ...............................................p.5 Frank Michael ...................................................p.9 Confiserie et patrimoine en Picardie ..............................p.5 Fréderic François ................................................p.9 Chantilly, domaine et spectacle équestre .........................p.5 THÉÂTRE Déjeuner-croisière et secrets de fabrication -
Changing Face of Cabaret (Sander)
“The Changing Face of Cabaret” by Roy Sander for Backstage (March 1996) “Do people really do that sort of thing in cabaret?” That was Gregory Henderson’s response when a producer suggested doing his show “Big WInd on Campus” at Don’t Tell Mama. The answer to Henderson’s questIon is a resounding “yes.” Cabaret in America has traditIonally been a venue for sIngers, vocal groups, comedians, revues, and occasIonal specIalty acts, such as female impersonators. But the tImes they have a changed. Clubs in New York abound wIth entertaInment of remarkable diversIty: one- and two-act plays, book musIcals, musIcal comedy, characteriZatIon, performance art, and works so original that they are not easIly classIfiable. The people performIng in cabaret are also a new mIxture, wIth sIngers and comIcs sharing the stage wIth actors and writers. Even artIsts in the more traditIonal forms have seIZed upon this freedom and devised ever more imaginatIve programmIng. While many vocalIsts contInue to do highly satIsfying shows of nothing but songs, others are presentIng highly conceptual evenings In which songs are only one element of a broader agenda. We spoke wIth the creators and performers of several of these shows. In additIon to explaIning why they chose cabaret as theIr venue, some talked about the factors that led them--or drove them to do a show In the first place and about the creatIve route they took to get there, which were often as sIngular as the shows themselves. We first asked booking managers--the people responsIble for choosIng the acts that appear at the clubs--theIr perspectIve on this phenomenon. -
THE CULTURE and MUSIC of AMERICAN CABARET Katherine Yachinich
Trinity University Digital Commons @ Trinity Music Honors Theses Music Department 5-2014 The ulturC e and Music of American Cabaret Katherine Anne Yachinich Trinity University, [email protected] Follow this and additional works at: http://digitalcommons.trinity.edu/music_honors Part of the Music Commons Recommended Citation Yachinich, Katherine Anne, "The ulturC e and Music of American Cabaret" (2014). Music Honors Theses. 5. http://digitalcommons.trinity.edu/music_honors/5 This Thesis open access is brought to you for free and open access by the Music Department at Digital Commons @ Trinity. It has been accepted for inclusion in Music Honors Theses by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. 2 THE CULTURE AND MUSIC OF AMERICAN CABARET Katherine Yachinich A DEPARTMENT HONORS THESIS SUBMITTED TO THE DEPARTMENT OF MUSIC AT TRINITY UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR GRADUATION WITH DEPARTMENTAL HONORS DATE 04/16/2014 Dr. Kimberlyn Montford Dr. David Heller THESIS ADVISOR DEPARTMENT CHAIR Dr. Sheryl Tynes ASSOCIATE VICE PRESIDENT FOR ACADEMIC AFFAIRS, CURRICULUM AND STUDENT ISSUES Student Copyright Declaration: the author has selected the following copyright provision (select only one): [X] This thesis is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs License, which allows some noncommercial copying and distribution of the thesis, given proper attribution. To view a copy of this license, visit http://creativecommons.org/licenses/ or send a letter to Creative Commons, 559 Nathan Abbott Way, Stanford, California 94305, USA. [ ] This thesis is protected under the provisions of U.S. Code Title 17. Any copying of this work other than “fair use” (17 USC 107) is prohibited without the copyright holder’s permission. -
Stand-Up Comedy with Katie Rubin Is a Cabaret-Style Seating Performance
FOR IMMEDIATE RELEASE ATTN: CALENDAR EDITORS, ARTS & ENTERTAINMENT EDITORS AURORA THEATRE COMPANY PRESENTS What. The Hell. Is HAPPENING? — TWO EVENINGS OF STAND-UP COMEDY WITH BAY AREA FAVORITE KATIE RUBIN Friday, November 30, and Saturday, December 1 Special Engagement BERKELEY, CA (Oct. 30, 2018)--Aurora Theatre Company presents two evenings of stand-up comedy with Bay Area favorite KATIE RUBIN in What. The Hell. Is HAPPENING?on Friday, November 30 and Saturday, December 1 at 8pm. Rubin’s one-hour show promises stand-up comedy deliciously spiked with razor-sharp wit, punchy observations and deeply personal experiences. Cabaret-style seating in Aurora’s smaller venue, Harry’s UpStage in the Nell and Jules Dashow Wing, offers patrons an opportunity to kick-back, laugh and ponder alike with Rubin such pressing matters in the universe as is Daenerys Targaryen the answer to Brett Kavanaugh and is Diet Coke the answer...to it all? A national touring stand-up comic, and an actress, Rubin returns to Aurora (The Heir Apparent) for this special engagement. An instructor of acting, writing, and improv at ACT, Stanford and Capital Stage, she earned her M.F.A. in acting at UC Davis, and B.A. in theater and dance at Amherst College. Rubin's recent acting credits include San Francisco Playhouse, Aurora Theatre, Marin Shakespeare, B Street Theater. Her solo shows include “Insides OUT!” “Amazing and Sage,” “Why I Died, a Comedy!” and “F*%k Christmas. (But Gently, and With Love).” CALENDAR EDITORS Aurora Theatre Company presents What. The Hell. Is HAPPENING? — two evenings of stand-up comedy with Bay Area favorite Katie Rubin on Friday, November 30 at 8 pm, and Saturday, December 1 at 8 pm. -
CABARET SYNOPSIS the Scene Is a Sleazy Nightclub in Berlin As The
CABARET SYNOPSIS The scene is a sleazy nightclub in Berlin as the 1920s are drawing to a close. Cliff Bradshaw, a young American writer, and Ernst Ludwig, a German, strike up a friendship on a train. Ernst gives Cliff an address in Berlin where he will find a room. Cliff takes this advice and Fräulein Schneider, a vivacious 60 year old, lets him have a room very cheaply. Cliff, at the Kit Kat Club, meets an English girl, Sally Bowles, who is working there as a singer and hostess. Next day, as Cliff is giving Ernst an English lesson, Sally arrives with all her luggage and moves in. Ernst comes to ask Cliff to collect something for him from Paris; he will pay well for the service. Cliff knows that this will involve smuggling currency, but agrees to go. Ernst's fee will be useful now that Cliff and Sally are to be married. Fraulein Schneider and her admirer, a Jewish greengrocer named Herr Schultz, also decide to become engaged and a celebration party is held in Herr Schultz shop. In the middle of the festivities Ernst arrives wearing a Nazi armband. Cliff realizes that his Paris errand was on behalf of the Nazi party and refuses Ernst's payment, but Sally accepts it. At Cliff's flat Sally gets ready to go back to work at the Kit Kat Klub. Cliff determines that they will leave for America but that evening he calls at the Klub and finds Sally there. He is furious, and when Ernst approaches him to perform another errand Cliff knocks him down. -
August, 2019 101-1 TITLE MC-08 DEPARTMENT of LIQUOR CONTROL SUBTITLE 01 LIQUOR COMMISSION CHAPTER 101 RULES GOVERNING the MANUFA
TITLE MC-08 DEPARTMENT OF LIQUOR CONTROL SUBTITLE 01 LIQUOR COMMISSION CHAPTER 101 RULES GOVERNING THE MANUFACTURE AND SALE OF INTOXICATING LIQUOR OF THE COUNTY OF MAUI Subchapter 1 General Provisions §08-101-1 Title 101-8 §08-101-2 Authority 101-8 §08-101-3 Purpose 101-8 §08-101-4 Construction 101-8 §08-101-5 Definitions 101-9 §§08-101-6 to 9 (Reserved) Subchapter 2 Liquor Commission, Liquor Control Adjudication Board, Counsel §08-101-10 Liquor commission; authority 101-20 §08-101-11 Liquor control adjudication board 101-24 §08-101-12 Emergency rules 101-24 §08-101-13 Liquor commission attorney 101-25 §08-101-14 Counsel for investigators, employees 101-25 §08-101-15 Determination of whether acts were in scope of duty 101-25 §08-101-16 Appeal of director's decision 101-26 August, 2019 101-1 §08-101-17 Issuance of director's written warning and caution 101-26 §08-101-18 Appeal of director's written warning and caution 101-27 §08-101-19 Political activities of commission employees 101-27 Subchapter 3 Types of Licenses, Hours, Restrictions §08-101-20 Manufacture or sale without license 101-29 §08-101-21 Licensee purchases from class 1 manufacturers, class 3 wholesalers, class 14 brewpub licensee, class 16 winery licensee, and class 18 small craft producer pub licensee only 101-29 §08-101-22 Licenses, classes 101-30 §08-101-23 Special conditions 101-62 §08-101-24 Temporary licenses 101-65 §08-101-25 Hours for the sale, service, and consumption of liquor in licensed premises 101-67 §08-101-26 Restrictions or conditions on licenses 101-69 §08-101-27 -
Paris Region France.Fr France.Fr France Workshop – September 2021 Exhibitors Provisional List
Lanika LEGER & Claire NEIL UPDATE YOUR PARIS REGION FRANCE.FR FRANCE.FR FRANCE WORKSHOP – SEPTEMBER 2021 EXHIBITORS PROVISIONAL LIST UPDATE YOUR PARIS REGION PARIS REGION PARIS SEINE-ET-MARNE ESSONNE YVELINES HAUTS-DE-SEINE SEINE-SAINT-DENIS VAL-DE-MARNE VAL D’OISE PARIS REGION ACCESSIBILITY PARIS REGION TRANSPORT FLIGHTS METRO + RER TRAIN TRAM 3 international airports 16 Metro lines serving 303 7 stations 8 tram lines (green and Paris-Charles de Gaulle silent) stations & 5 Regional Paris-Orly Beauvais - Tillé Express lines BUS TAXI Cityscoot Vélib 378 bus routes 17,700 taxis 3400 scooters 1,300 stations across 55 towns (Paris and region) PARIS REGION VISITOR NUMBERS +50 million visitors to the Paris Region in 2019 * €21.7 billion in tourist revenue 2 641 000 1 866 000 1 252 000 1 113 000 950 000 Near and Middle East 942 000 858 000 668 000 544 000 508 000 Source: PARIS REGION TOURIS BOARD 2019 PARIS REGION VISITOR NUMBERS 500 000 ! Source: PARIS REGION TOURIS BOARD 2019 PARIS REGION, LEISURE AND BUSINESS DESTINATION!LOISIRS… PARIS REGION EIFFEL TOWER ARC DE TRIOMPHE THE LOUVRE MUSEUM MUSEE D’ORSAY MONTMARTRE CHATEAU DE VERSAILLES PROVINS CHATEAU DE FONTAINEBLEAU PARIS REGION THE NEW PARISIAN LANDSCAPE THE NEW BANKS OF THE SEINE NEW PLACE DE LA CANAL DE L’OURCQ / LA VILETTE LES HALLES redesigned: 6km pedestrian promenade RÉPUBLIQUE East of Paris, new spaces for New design and modernisation for leisure activities A pedestrianised esplanade for leisure (Left & Right Bank) events and leisure PARIS REGION THE LAST TWO YEARS! CULTURE – NEW -
Le Top 15 Des Meilleurs Spectacles
LOISIRS SE DIVERTIR Par Patricia Coignard Retrouvez toute la légèreté du French Cancan à La Nouvelle Ève. le top 15 des meilleurs spectacles Fidèle à ses fondamentaux, respectueux de ses traditions tout en étant en empathie avec l’air du temps, le cabaret réussit à se renouveler sans se renier. Une prouesse qui le rend séduisant auprès d’un large public. En 2019, il s’impose toujours comme une sortie immanquable, au moins une fois par an, pour tous les CE. e v È e l l e v u o N a L © 74 Janvier-Février 2019 SocialCE n°98 SocialCE n °98 Janvier-Février 2019 75 LOISIRS SE DIVERTIR CABARET Le Cabaret du Bout des Prés. « Le secteur des cabarets a su demeurer à l’écoute des attentes d’un public diversifié et des évolutions technologiques, sans jamais renoncer à son ADN » a mode, c’est ce qui se démode ». Cette maxime de Jean Cocteau sied à merveille aux cabarets. Ces lieux où l’on dîne en assistant à une revue ou un spectacle se sont développés à la Belle Époque, au L cours du XIX e siècle. Dans des écrins architecturaux parfois remarquables, l’activité artistico-gastronomique a vite vu sa popularité grimper. Et se maintenir au fil des décennies. Certains cabarets ont depuis acquis une renommée mondiale et attirent des spectateurs par dizaines de milliers. Paradoxe, des incontournables tels que le Moulin Rouge, le Paradis Latin ou le Lido, parfois boudés par les Parisiens, sont adou - bés, à juste titre, par les étrangers et les provinciaux.