Relevant bibliographies by topics / Forkbeard Fantasy (Theatre company)

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Academic literature on the topic 'Forkbeard Fantasy (Theatre company)'

Author: Grafiati
Published: 26 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Forkbeard Fantasy (Theatre company)"

1

Whybrow, Nicolas. "Animating Morecambe: Forkbeard Fantasy Goes to the Ball." New Theatre Quarterly 16, no. 1 (2000): 3–16. http://dx.doi.org/10.1017/s0266464x00013415.

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Forkbeard Fantasy is one of Britain's oldest ‘alternative’ performance companies. Founded in 1974 by the brothers Tim and Chris Britton, who have continued to work with the company ever since, Forkbeard's practice may be identified with a peculiarly British variant on performance art, which dates from the mid-sixties. Influenced as much by elements of variety entertainment as by early twentieth-century avant-garde movements in the visual arts, it produced a unique form of integrated performance which was often daringly experimental yet refreshingly tongue-in-cheek. In the Spring of 1999, Nicol
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2

Day, Moira. "The Edmonton Fringe Festival: Home on the Fringe." Canadian Theatre Review 45 (December 1985): 36–43. http://dx.doi.org/10.3138/ctr.45.005.

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In 1980 the city of Edmonton organized Summerfest to help alleviate the cultural aridity of the summer months. While Summerfest’s two musical festivals, Jazz City and International Folk, caught fire immediately, its theatre festival was slower to ignite. A plan to run a summer-long repertory season of primarily Shakespearean plays out of a large tent in a city park worked well in 1981. The programme fell through in 1982 when the city offered Northern Lights Theatre, the sponsoring company, only half its previous budget. Enter Brian Paisley, founder and artistic director of Chinook Theatre, a t
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3

Fotheringham, Richard. "The Great War and popular modernism: Pat Hanna's Louis XI." Queensland Review 23, no. 2 (2016): 133–42. http://dx.doi.org/10.1017/qre.2016.25.

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AbstractPat Hanna's Famous Diggers, a professional vaudeville theatre troupe comprising ex-Great War Anzac soldiers (initially, mainly New Zealanders, as Hanna was himself) played for nearly two years (1923–24) at the old Cremorne Theatre in Brisbane. One item Hanna premiered at the Cremorne was Louis XI, a short (ten-minute) comic sketch he wrote himself. Modernism in the inter-war years, given its usual location within avant-garde aesthetics, high culture, internationalism and radical politics, is not — with the notable exception of Brecht's cabaret work in the 1920s — usually associated wit
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4

Cottis, David. "Dr Jekyll and/or Mr Hyde: The two versions of David Edgar’s stage adaptation." Journal of Adaptation in Film & Performance 16, no. 1 (2023): 7–19. http://dx.doi.org/10.1386/jafp_00086_1.

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In 1991, the Royal Shakespeare Company staged David Edgar’s The Strange Case of Dr Jekyll and Mr Hyde, an adaptation of Robert Louis Stevenson’s 1885 novella, directed by Peter Wood, to a generally negative critical and commercial response. Five years later, the Birmingham Repertory Theatre produced Edgar’s revised version of the play, using the shorter title Dr Jekyll and Mr Hyde, to much more positive reviews, often from the same people. The striking thing about this radically different response is that, apart from a single element, the two scripts are very similar. They can therefore serve
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5

Săpunaru Tămaș, Carmen. "Prince(ss) Charming of the Japanese Popular Theatre." M/C Journal 25, no. 4 (2022). http://dx.doi.org/10.5204/mcj.2920.

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Taishū engeki—Entertainment for the Masses? What do a highway robber, a samurai, and a geisha have in common? They are all played by the same actor, often at the same time, in an incredible flurry of costume change, in a contemporary form of Japanese theatre called taishū engeki. Taishū engeki, translated as vaudeville, literally, “theatre for the masses”, would be better described as a parallel world of fantasy, glitter, and manga-esque beautiful men wearing elaborate wigs and even more elaborate kimonos, who dance and gracefully sway their hips to portray women, and simultaneously do their b
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Blackwood, Gemma. "X-Rated Indie Film and A24." M/C Journal 27, no. 4 (2024). http://dx.doi.org/10.5204/mcj.3076.

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This article investigates the ways that Ti West’s X horror film series uses the premise of pre-Internet American porno filmmaking as a grimy yet cool marker of American independent cinematic authenticity. The trilogy – composed of X (2022), Pearl (2022), and MaXXXine (2024) – uses the slasher horror genre to examine the porn industry and the history of twentieth-century cinema, with a particular focus on the so-called “golden age” (1969–1984) of 35mm feature film American pornography (Paasonen and Saarenmaa). Arguably, in these films the slasher horror genre reflects conventions previously ass
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7

Mullen, Mark. "It Was Not Death for I Stood Up…and Fragged the Dumb-Ass MoFo Who'd Wasted Me." M/C Journal 6, no. 1 (2003). http://dx.doi.org/10.5204/mcj.2134.

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I remember the first time I saw a dead body. I spawned just before dawn; around me engines were clattering into life, the dim silhouettes of tanks beginning to move out in a steady grinding rumble. I could dimly make out a few other people, the anonymity of their shadowy outlines belied by the names hanging over their heads in a comforting blue. Suddenly, a stream of tracers arced across the sky; explosions sounded nearby, then closer still; a tank ahead of me stopped, turned sluggishly, and fired off a couple of rounds, rocking slightly against the recoil. The radio was filled with talk of Ge
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8

Chen, Jasmine Yu-Hsing. "Bleeding Puppets: Transmediating Genre in Pili Puppetry." M/C Journal 23, no. 5 (2020). http://dx.doi.org/10.5204/mcj.1681.

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IntroductionWhat can we learn about anomaly from the strangeness of a puppet, a lifeless object, that can both bleed and die? How does the filming process of a puppet’s death engage across media and produce a new media genre that is not easily classified within traditional conventions? Why do these fighting and bleeding puppets’ scenes consistently attract audiences? This study examines how Pili puppetry (1984-present), a popular TV series depicting martial arts-based narratives and fight sequences, interacts with digital technologies and constructs a new media genre. The transmedia constituti
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9

Stewart, Jon. "Oh Blessed Holy Caffeine Tree: Coffee in Popular Music." M/C Journal 15, no. 2 (2012). http://dx.doi.org/10.5204/mcj.462.

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Introduction This paper offers a survey of familiar popular music performers and songwriters who reference coffee in their work. It examines three areas of discourse: the psychoactive effects of caffeine, coffee and courtship rituals, and the politics of coffee consumption. I claim that coffee carries a cultural and musicological significance comparable to that of the chemical stimulants and consumer goods more readily associated with popular music. Songs about coffee may not be as potent as those featuring drugs and alcohol (Primack; Schapiro), or as common as those referencing commodities li
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Books on the topic "Forkbeard Fantasy (Theatre company)"

1

Arts University College at Bournemouth. Gallery. Forkbeard Fantasy's theatre of animation. The Gallery, 2016.

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2

Charles, Kean, ed. Sh akespeare's play of a midsummer night's dream: Arranged for representation at the Princess's Theatre. Pergamon, 1985.

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3

Shakespeare, William. A midsummer night's dream: Texts and contexts. Bedford/St. Martin's, 1999.

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Shakespeare, William. Sogno di una notte di mezz'estate. Mondadori, 1998.

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5

Shakespeare, William. A midsummer night's dream. Oxford University Press, 2001.

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6

Shakespeare, William. A midsummer night's dream. 3rd ed. Perfection Learning Corp., 2004.

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Shakespeare, William. Shakespeare's A midsummer night's dream. Dover, 2003.

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Shakespeare, William. A midsummer night's dream. Cambridge University Press, 2003.

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Shakespeare, William. William Shakespeare's A midsummer night's dream. Hodder Murray, 2002.

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Shakespeare, William. Zhong xia ye zhi meng: A midsummer-night's dream. Shi jie shu ju, 1996.

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Book chapters on the topic "Forkbeard Fantasy (Theatre company)"

1

Grene, Nicholas. "Live History." In Irish Theatre in the Twenty-First Century. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780198893073.003.0006.

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Abstract At the time of the political violence in the North of Ireland, many playwrights used history plays as a means of coming to terms with the troubled present. This tradition has continued with a more playful treatment of Irish history, but also the dramatization of disturbingly neglected parts of the past. Donal O’Kelly’s Catalpa (1995) tells the story of the 1876 rescue of Fenian prisoners from Australia, an epic nationalist narrative in O’Kelly’s sources. It is doubly distanced in the play as a one-man performance of an imagined film script, mocking cinematic clichés and machismo heroi
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