Victorian Theatrical Burlesques

The first critical edition of Victorian theatrical burlesques, with an extensive critical and historical overview of the genre.

25/07/20, [hippodrome d'Auteuil, fête des chasseurs à pied, promenade de] la mascotte des chasseurs [par un clown nain] : [photographie de presse] / [Agence Rol]

Référence bibliographique : Rol, 60207

25/07/20, [hippodrome d'Auteuil, fête des chasseurs à pied, promenade de] la mascotte des chasseurs [par un clown nain] : [photographie de presse] / [Agence Rol]

Référence bibliographique : Rol, 60208

Introducing "Critical Essays": Leigh Hunt and theatrical criticism in the early nineteenth century

The years 1801 to 1808 saw the emergence of Leigh Hunt as a public figure on the London literary scene, first with the publication of his collection of poetry, "Juvenilia", and then with his work as theater critic for "The News" between 1805 and 1807. [...]

Kipper the clown : a story about the children.

Pertenece a un amplio programa infantil de lectura que abarca distintos niveles de edad y, por tanto, de conocimientos. Se abordan las necesidades de lectura en los niños y la amplia variedad de habilidades que necesitan adquirir para su aprendizaje y, se destaca, también, la importancia de la narración en las historias. En el nivel tres, se amplia la cantidad de texto y se trabaja con el vocabulario adquirido en el nivel anterior. Los niños protagonistas instalan un circo.

Cuarto de juegos : método de dramatización, teatro, clown y cuentacuentos.

Resumen basado en el de la publicación

'A theatre of ruins'. Edward Bond & Samuel Beckett: theatrical antagonists

The playwright Edward Bond has long made known his antagonism to dramatists allied to Martin Esslin’s Theatre of the Absurd. The work of Samuel Beckett has come in for particular criticism by Bond. Using published writings (and unpublished correspondence between myself and Bond), I hope to trace the development of this antagonism between ‘Bondian’ and ‘Beckettian’ views of theatre. However, this article will also set out to argue that both early work such as The Pope’s Wedding (1962), and more recent work such as Coffee (1995), make use of motifs, characters and ideas from Beckett’s theatre. The article will set out provisional reasons why Bond, despite his misgivings, is not averse to incorporating elements from Beckett’s ‘theatre of ruins’, as he terms it, into his own work.