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Dance and dancers in the Victorian and Edwardian music hall ballet / Alexandra Carter.

By: Material type: TextTextSeries: Music in nineteenth-century BritainPublisher: Aldershot, Hants, England ; Burlington, VT : Ashgate, [2004]Copyright date: ©2004Description: 177 pages : illustrations ; 24 cmContent type:
  • text
Media type:
  • unmediated
Carrier type:
  • volume
ISBN:
  • 0754637360
  • 9780754637363
Subject(s): DDC classification:
  • 792.8094109034 22
LOC classification:
  • GV1646.E6 C37 2004
Contents:
1. In fit and seemly luxury : ballet at the Alhambra and the Empire -- 2. From the principals to the Passees : performers in the music hall ballets -- 3. Dancing the feminine : gender and sexuality on stage -- 4. A fairyland of fair women : dancing the narratives of the age -- 5. Images and imagination : poetry, fiction and the eye of the writer -- 6. Prejudicial to public morality : the moral image of the dance and dancer -- 7. Cara's tale -- App. I. Ballets at the Alhambra 1884-1912 : artistic collaborators -- App. II. Ballets at the Empire 1884-1915 : artistic collaborators -- App. III. Ballets at the Alhambra 1884-1912 : subject matter -- App. IV. Ballets at the Empire 1884-1915 : subject matter.
Review: "The Victorian and Edwardian music hall ballet has been a neglected facet of dance historiography, falling prey principally to the misguided assumption that any ballet not performed at the Opera House or 'legitimate' theatre necessarily meant it was of low cultural and artistic merit. Here Alexandra Carter identifies the traditional marginalisation of the working class female participants in ballet historiography, and moves on to reinstate the 'lost' period of the music hall ballet and to apply a critical account of that period." "Carter examines the working conditions of the dancers, the identities and professional lives of the ballet girls and the ways in which the ballet of the music hall embodied the sexual psyche of the period, particularly in its representations of the ballet girl and the ballerina. By drawing on newspapers, journals, theatre programmes, contemporary fiction, poetry and autobiography, Carter firmly locates the period in its social, economic and artistic context. The book culminates in the argument that there are direct links between the music hall ballet and what has been termed the 'birth' of British ballet in the 1930s; a link so long ignored by dance historians. This work will appeal not only to those interested in nineteenth century studies, but also to those working in the fields of dance studies, gender studies, cultural studies and the performing arts."--BOOK JACKET.
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Holdings
Item type Current library Call number Copy number Status Date due Barcode
Book City Campus City Campus Main Collection 792.8094109034 CAR (Browse shelf(Opens below)) 1 Available A398373B

Includes bibliographical references and index.

1. In fit and seemly luxury : ballet at the Alhambra and the Empire -- 2. From the principals to the Passees : performers in the music hall ballets -- 3. Dancing the feminine : gender and sexuality on stage -- 4. A fairyland of fair women : dancing the narratives of the age -- 5. Images and imagination : poetry, fiction and the eye of the writer -- 6. Prejudicial to public morality : the moral image of the dance and dancer -- 7. Cara's tale -- App. I. Ballets at the Alhambra 1884-1912 : artistic collaborators -- App. II. Ballets at the Empire 1884-1915 : artistic collaborators -- App. III. Ballets at the Alhambra 1884-1912 : subject matter -- App. IV. Ballets at the Empire 1884-1915 : subject matter.

"The Victorian and Edwardian music hall ballet has been a neglected facet of dance historiography, falling prey principally to the misguided assumption that any ballet not performed at the Opera House or 'legitimate' theatre necessarily meant it was of low cultural and artistic merit. Here Alexandra Carter identifies the traditional marginalisation of the working class female participants in ballet historiography, and moves on to reinstate the 'lost' period of the music hall ballet and to apply a critical account of that period." "Carter examines the working conditions of the dancers, the identities and professional lives of the ballet girls and the ways in which the ballet of the music hall embodied the sexual psyche of the period, particularly in its representations of the ballet girl and the ballerina. By drawing on newspapers, journals, theatre programmes, contemporary fiction, poetry and autobiography, Carter firmly locates the period in its social, economic and artistic context. The book culminates in the argument that there are direct links between the music hall ballet and what has been termed the 'birth' of British ballet in the 1930s; a link so long ignored by dance historians. This work will appeal not only to those interested in nineteenth century studies, but also to those working in the fields of dance studies, gender studies, cultural studies and the performing arts."--BOOK JACKET.

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