Lynette Goddard

Catherine Hindson

Claire Cochrane

Trish Reid

The Routledge Companion to Twentieth Century British Theatre and Performance provides a broad range of perspectives on the multiple models and examples of theatre, artists, enthusiasts, enablers and audiences that emerged over this formative hundred‐year period. This second volume covers the second half of the century, constructing an equitable and inclusive history that is more representative of the nation's lived experience than the traditional narrative of British theatre. Its approach is intra-national - weaving together the theatres and communities of England, Scotland, Northern Ireland and Wales, as well as being thematic, breaking down its coverage into sections that address nation, power and identity; fixity and mobility; bodies in performance; theatre communities, and the materiality of theatre. This approach exposes the synergies, convergences and divergences of the theatre world in Britain during this period, giving a sense of the sheer variety of performance that was taking place at any given moment in time. This is a fascinating and indispensable resource for undergraduate and graduate students, postgraduate researchers and scholars across theatre and performance studies, cultural studies, and twentieth century history.

Volume Two: 1950–2000

The Routledge Companion to Twentieth Century British Theatre and Performance

This study focuses on seven women who used the fin-de-siècle's popular stage as a space to develop their experimental performance practices: acts that won them international fame and critical acclaim. The diverse entertainment careers of Maud Allan (1873-1956), Jane Avril (1868-1943), Loïe Fuller (1868-1926), Sylvia Grey (1866-1958), Yvette Guilbert (1867-1944), Letty Lind (1862-1923) and Cissie (Cecilia) Loftus (1876-1943) encompassed song, dance, impersonation and acting. In accounts, reviews, autobiographical writings, interviews and other cultural products associated with them it is clear that individual female celebrities understood their work as creative, professional and original performance practice. The absence of their creative work from studies of performance history reveals much about hierarchical approaches to cultural environments, gender and physical, non-scripted performances that demands to be interrogated.

Experiment and Advertisement

Female Performance Practice on the fin-de-siècle Popular Stage of London and Paris

This book focuses on seven celebrity performers working between the mid 1880s and 1910. Maud Allan, Jane Avril, Loïe Fuller, Sylvia Grey, Yvette Guilbert, Letty Lind and Cissie Loftus achieved international fame, whilst simultaneously creating new and innovative performances on the popular stage.

Female Performance Practice on the Fin-de-Siecle Popular Stage of London and Paris

Chapter 6. "Killing Kruger with Your Mouth" | The Actress, Charity Recitations, and the Second Anglo Boer War -- Chapter 7. The "Comforteers" | Actresses and Charity Activity during the First World War -- Conclusion | "Get an Actress First. If You Can't Get an Actress Then Get a Duchess." -- Notes -- Bibliography -- Index

Catherine Hindson

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