Cultural Identity in British Musical Theatre, 1890–1939

Knowing One’s Place

Nonfiction, Entertainment, Theatre, Performing Arts
Cover of the book Cultural Identity in British Musical Theatre, 1890–1939 by Ben Macpherson, Palgrave Macmillan UK
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Author: Ben Macpherson ISBN: 9781137598073
Publisher: Palgrave Macmillan UK Publication: May 15, 2018
Imprint: Palgrave Macmillan Language: English
Author: Ben Macpherson
ISBN: 9781137598073
Publisher: Palgrave Macmillan UK
Publication: May 15, 2018
Imprint: Palgrave Macmillan
Language: English

This book examines the performance of ‘Britishness’ on the musical stage. Covering a tumultuous period in British history, it offers a fresh look at the vitality and centrality of the musical stage, as a global phenomenon in late-Victorian popular culture and beyond. Through a re-examination of over fifty archival play-scripts, the book comprises seven interconnected stories told in two parts. Part One focuses on domestic and personal identities of ‘Britishness’, and how implicit anxieties and contradictions of nationhood, class and gender were staged as part of the popular cultural condition. Broadening in scope, Part Two offers a revisionary reading of Empire and Otherness on the musical stage, and concludes with a consideration of the Great War and the interwar period, as musical theatre performed a nostalgia for a particular kind of ‘Britishness’, reflecting the anxieties of a nation in decline.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

This book examines the performance of ‘Britishness’ on the musical stage. Covering a tumultuous period in British history, it offers a fresh look at the vitality and centrality of the musical stage, as a global phenomenon in late-Victorian popular culture and beyond. Through a re-examination of over fifty archival play-scripts, the book comprises seven interconnected stories told in two parts. Part One focuses on domestic and personal identities of ‘Britishness’, and how implicit anxieties and contradictions of nationhood, class and gender were staged as part of the popular cultural condition. Broadening in scope, Part Two offers a revisionary reading of Empire and Otherness on the musical stage, and concludes with a consideration of the Great War and the interwar period, as musical theatre performed a nostalgia for a particular kind of ‘Britishness’, reflecting the anxieties of a nation in decline.

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