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Relevant bibliographies by topics / Britannia Theatre

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Academic literature on the topic 'Britannia Theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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Journal articles on the topic "Britannia Theatre"

1

Davis, Jim. "The Gospel of Rags: Melodrama at the Britannia, 1863–74." New Theatre Quarterly 7, no. 28 (1991): 369–89. http://dx.doi.org/10.1017/s0266464x00006072.

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We are happy to return to the Britannia Theatre, Hoxton, the subject of pioneering studies by Clive Barker in the original Theatre Quarterly, where he used the ‘Brit’ as focus for an overview of the problems of researching nineteenth-century popular theatre in TQ4 (1971), proceeding to a detailed analysis of our knowledge of the nature and composition of the theatre's audiences in TQ34 (1979). Jim Davis now turns to the repertoire of the theatre, and, for one representative decade from 1863 to 1874, explores the sources of the melodramas presented there – a great many of them specially written

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2

Davis, Jim, and Tracy C. Davis. "The People of the “People's Theatre”: The Social Demography of the Britannia Theatre (Hoxton)." Theatre Survey 32, no. 2 (1991): 137–65. http://dx.doi.org/10.1017/s0040557400001046.

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In 1882, Walter Besant declared that the hinterland beyond Aldgate had two million people yet “no institutions of their own to speak of, no public buildings of any importance, no municipality, no gentry, no carriages, no soldiers, no picture-galleries, no theatres, no opera—they have nothing.” The fact that Whitechapel first appeared in the theatrical annals in 1557, Stepney contained several of the largest engineering projects in Regency London, and Shoreditch's Britannia was one of the most successful theatres in Victorian Britain belies the prejudice in Besant's statement. Cultural historia

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3

Davis, Jim. "Imperial Transgressions: the Ideology of Drury Lane Pantomime in the Late Nineteenth Century." New Theatre Quarterly 12, no. 46 (1996): 147–55. http://dx.doi.org/10.1017/s0266464x00009970.

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How far do popular theatre forms express popular sentiments, and how far populist? This is one of the issues explored in the following article, in which Jim Davis looks at the ideology, explicit and underlying, of the spectacular Drury Lane pantomimes of the late nineteenth century. At once imperialist and redolent of Little England, the pantomimes often displayed an ambiguous attitude to the moral concerns of the time, from temperance reform to ‘the woman question’ – to the influence of the music hall from which they drew their most popular performers. The prevailing tone, it becomes clear, w

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4

Norwood, Janice. "Stage Echoes: Tracing the Pantomime Harlequinade through Comic Ballet, Trap Work, and Silent Film." Theatre Survey 65, no. 3 (2024): 185–207. http://dx.doi.org/10.1017/s004055742400022x.

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In 2010 film and theatre historian David Mayer urged researchers to look to early film for evidence of continuing traditions of Victorian pantomime, arguing its “audiences tolerated, even enjoyed, the same sight-gags and hackneyed routines that amused their Victorian ancestors.” This article is a response to his challenge and in the process explores wider interconnections. The harlequinade was the portion of the pantomime that occurred after key characters from the narrative pantomime opening are transformed into Clown, Harlequin, Pantaloon, and Columbine. These stock figures, originally deriv

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5

Urban, Ken. "Towards a Theory of Cruel Britannia: Coolness, Cruelty, and the 'Nineties." New Theatre Quarterly 20, no. 4 (2004): 354–72. http://dx.doi.org/10.1017/s0266464x04000247.

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The explosion of ‘in-yer-face’ theatre that dominated the British stage in the 'nineties has had both vocal champions and detractors. Here, Ken Urban examines the emergence of this kind of theatre within the cultural context of ‘cool Britannia’ and suggests that the plays of writers such as Mark Ravenhill and Sarah Kane explore the possibilities of cruelty and nihilism as a means of countering cynicism and challenging mainstream morality's interpretation of the world. Ken Urban is a playwright and director, whose plays The Female Terrorist Project and I [hearts] KANT are currently being produc

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Sierz, Aleks. "‘Me and My Mates’: the State of English Playwriting, 2003." New Theatre Quarterly 20, no. 1 (2004): 79–83. http://dx.doi.org/10.1017/s0266464x03000356.

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Since his account of the Birmingham Theatre Conference in NTQ51, Aleks Sierz has taken the temperature of British playwriting in articles about ‘Cool Britannia’ (NTQ56) – from which developed his influential book, In Yer Face Theatre: British Drama Today (Faber, 2001) – ‘Still In-Yer-Face? Towards a Critique and a Summation’ (NTQ69), and a report on the Bristol conference (NTQ73). At a time when more new writing is being staged than probably at any period of British theatre history, here he laments the insular social realism which once more characterizes English (as distinct from Irish, Scotti

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7

Norwood, Janice. "The Bard Returns to Shoreditch: Shakespearean Productions at the Britannia Theatre." Nineteenth Century Theatre and Film 35, no. 2 (2008): 29–47. http://dx.doi.org/10.7227/nctf.35.2.4.

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8

Sierz, Aleks. "Cool Britannia? ‘In-Yer-Face’ Writing in the British Theatre Today." New Theatre Quarterly 14, no. 56 (1998): 324–33. http://dx.doi.org/10.1017/s0266464x00012409.

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The appearance of a succession of controversial and attention-catching new plays on the British stage in the 'nineties has led to considerable public discussion – and not a little ostensible outrage. In ‘an interim report’, Aleks Sierz examines the rash of plays about sex, drugs, and violence – notably Trainspotting, Blasted, Mojo, and Shopping and Fucking – by twenty-something authors, and asks whether they have anything in common beyond a flamboyant theatricality and the desire to shock. After showing how Cool Britannia's manifestation on the national stage has provoked arguments for and aga

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9

Lucas, Peter J. "WILLIAM CAMDEN, SEVENTEENTH-CENTURY ATLASES OF THE BRITISH ISLES AND THE PRINTING OF ANGLO-SAXON." Antiquaries Journal 98 (September 2018): 219–44. http://dx.doi.org/10.1017/s000358151800015x.

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The sixth edition of Camden’s Britannia was published in 1607 with over fifty county maps printed from engraved plates. It was a pioneering work. In 1611, John Speed published his Theatre of The Empire of Great Britaine, again with over fifty county maps, many of them engraved by Jodocus Hondius from Amsterdam, and with an abridged version of Camden’s text. These books established a model that was followed later in Amsterdam itself in the great atlases of Blaeu and Janssonius. One of the ways Camden sought to augment the authority of his work was by using Anglo-Saxon types in his text for coun

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10

Natour, Elisabeth. "Music as Political Practice: Evoking the Sounds of Power at the Early Modern Court." European History Quarterly 53, no. 3 (2023): 441–58. http://dx.doi.org/10.1177/02656914231181275.

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Seventeenth-century monarchy was performed, by ritual, by enactments, by sounds, and by visualizations. The crises of European monarchies of the 1620s and 1630s were met with splendid spectacles in which rulers and courtiers acted out idealized royal virtues and power. This article argues the case for the vital importance of music within these spectacles. Musical harmony was thought to mirror the harmony of the spheres, indicating God's plan for the universe. The ruler's ability to master or evoke musical harmony in aulic theatre could thus function as double representation of divine approval

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Dissertations / Theses on the topic "Britannia Theatre"

1

Norwood, Janice. "The Britannia Theatre, Hoxton (1841-1899) : the creation and consumption of popular culture in an East End community." Thesis, University of Leicester, 2006. http://hdl.handle.net/2381/34878.

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This thesis examines the Britannia Theatre in relation to the East End community in which it was situated and explores its connection with popular culture. It traces the theatre's development from its earliest incarnation in 1841 as a tavern with a small area set aside for dramatic entertainments to its establishment as one of the most important theatrical institutions in the East End and finally to its decline at the turn of the century. Running throughout is a discussion of how the theatre interacted with its predominantly working-and lower-middle-class audience. This sustained and close rel

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Books on the topic "Britannia Theatre"

1

1949-, Davis Jim, and Mitchell Library Sydney, eds. The Britannia diaries, 1863-1875: Selections from the diaries of Frederick C. Wilton. Society for Theatre Research, 1992.

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2

Carlotti, Edoardo Giovanni. La scena e i suoi specchi: Aspetti della cultura teatrale britannica tra Ottocento e Novecento. Maria Pacini Fazzi editore, 1996.

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3

Pollock's Britannia Toy Theatre. Pryor Publications, 2005.

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4

Grade, Michael Ian, 1943- writer of foreword, ed. Glasgow's lost theatre: The story of the Britannia Music Hall. 2014.

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5

Mallet, David. Britannia: A Masque. Acted at the Theatre-Royal in Drury-Lane. Gale ECCO, Print Editions, 2018.

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6

Saunders, Graham, and Rebecca D'Monte. Cool Britannia?: British Political Drama in the 1990s. Palgrave Macmillan, 2008.

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Saunders, Graham, and Rebecca D'Monte. Cool Britannia?: British Political Drama in the 1990s. Palgrave Macmillan, 2008.

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8

BRUSBERG-KIERMEIER, STEFANI. Shakespeare In The Media: From The Globe Theatre To The World Wide Web (Britannia. Texts in English). Peter Lang Publishing, 2004.

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9

Press, Anita Louise. Sadler's Wells theatre under Charles Dibdin the Younger from 1800 to 1819: When Britannia ruled the stage. 1994.

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10

(Editor), STEFANI BRUSBERG-KIERMEIER, and JORG HELBIG (Editor), eds. Shakespeare In The Media: From The Globe Theatre To The World Wide Web (Britannia (Frankfurt Am Main, Germany), V. 9.). Peter Lang Publishing, 2004.

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Book chapters on the topic "Britannia Theatre"

1

Norwood, Janice. "The Britannia Theatre: Visual Culture and the Repertoire of a Popular Theatre." In Ruskin, the Theatre and Victorian Visual Culture. Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230236790_8.

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2

Lediard, Thomas. "Thomas Lediard, Prefatory Argument and a Description of the Transparent Theatre, from Britannia. An English Opera. As it is Performed at the New Theatre in the Hay-Market... By Mr. Lediard. Late Secretary to His Majesty's Envoy Extraordinary in Hamburg, and Many Years Director of the Opera House in that City. The Musick Compos'd after the Italian Manner, by Mr. Lampe (London: Printed for J. Watts, 1732)." In London Opera Observed 1711-1844, Volume I. Routledge, 2024. http://dx.doi.org/10.4324/9781003552253-23.

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Barker, Clive. "The Audiences of the Britannia Theatre, Hoxton." In European Theatre Performance Practice, 1750–1900. Routledge, 2016. http://dx.doi.org/10.4324/9781315255859-ch-25.

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4

Walker, Alan. "Britannia Scorned, 1878–1879: Encounters and Skirmishes in ‘The Land without Music’." In Hans von Bülow. Oxford University PressNew York, NY, 2009. http://dx.doi.org/10.1093/oso/9780195368680.003.0014.

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Abstract When Bülow left Britain, in January 1878, in order to resume his duties in Hanover, his reputation throughout the country stood at its zenith. Had he never gone back, he would have continued to carry the admira- tion of the nation with him. He did go back, however, and built up re- sentment among the English because of his sharp tongue and abrasive comments. Undoubtedly his nerves were fretted by the ongoing tensions in the Hanover theatre; and his tribulations could hardly have been eased by the arrival of a dismal English winter, making travel through the prov- inces, much of it at

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5

Marshall, Hallie. "The Early Years at the National Theatre: Harrison’s Molière and Racine." In New Light on Tony Harrison. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266519.003.0009.

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While Tony Harrison’s career as a poet was perhaps inevitable by the early 1970s with the publication of his award winning volume The Loiners (1970), this chapter argues that it was not a given that a significant portion of Harrison’s poetic output would be for the stage, nor that the British Theatre would readily welcome a contemporary poet writing verse plays. I argue that Harrison’s career in the theatre was fostered by his early commissions from the National Theatre and the collaborators he worked with in those early years, especially director John Dexter. Their work together on Harrison’s

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6

Morowitz, Harold J. "Flights Of Fancy." In Entropy and the Magic Flute. Oxford University PressNew York, NY, 1993. http://dx.doi.org/10.1093/oso/9780195081992.003.0044.

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Abstract OVER THE YEARS, when our children were growing up, discussions at the dinner table often led to a postprandial examination of an encyclopedia to resolve some differences of opinion about matters of fact. Through the years we thus acquired two editions of the Britannica, one of the World Book, a few copies of the one-volume Columbia, and a Book of Knowledge, which came with me from my parents’ home. It was thus an exercise in nostalgia, mixed with deja vu, when the 17 members of the nowextended family were sitting around the New Year’s table and the unlikely discussion of flying mammal

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7

Chambers, E. K. "Playwrights." In The Elizabethan Stage. Oxford University PressOxford, 2009. http://dx.doi.org/10.1093/oso/9780199567508.003.0005.

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Abstract Bibliographical Note.-The abundant literature of the drama is more satisfactorily treated in the appendices to F. E. Schelling, Elizabethan Drama (1908), and vols. v and vi (1910) of the Cambridge History of English Literature, than in R. W.Lowe, Bibliographical Account of English Theatrical Literature (1888), K. L. Bates and L. B. Godfrey, English Drama: a Working Basis (1896), or W. D. Adams, Dictionary of the Drama (1904). There is an American pamphlet on Materials for the Study of the English Drama, excluding Shakespeare (1912, Newbery Library, Chicago), which I have not seen. Per

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