Performing Opposition

Modern Theater and the Scandalized Audience

by Neil Blackadder

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November 2003


Pages 248
Volumes 1
Size 6 1/8x9 1/4
Topics Popular Culture/Music and Performing Arts

Modern theater history is punctuated by instances of scandalized audience members disrupting and in some cases suspending the first production of a new play. Such incidents are usually dismissed as riots, as self-evident displays of philistinism. Neil Blackadder's intriguing new study reveals them in fact to be multifaceted conflicts, showing the ways in which these protesters-acting against plays by such notables as Jarry, Synge, and Brecht-creatively devised and enacted resistance through verbal rejoinders, physical gestures, and organized group demonstrations.

Performing Opposition draws on reviews, memoirs, interviews, and court records to present engaging and insightful accounts of these clashes—clashes that Blackadder proposes as a unique and distinct category of event in a time when unprecedentedly restrained norms of auditorium behavior coincided with a regeneration of writing for the stage. Offering the first detailed examination of affronted theatergoers' counter-performances, the volume represents an intriguing illumination of a largely overlooked aspect of performed drama and its history.

Table of Contents

Introduction: Modern Theater Scandals and the Evolution of the Theatrical Event
"Are We in a Brothel Here, or a Theater?": Resisting Naturalism - Hauptmann's Before Sunrise
"Down with Lugné Chamber Pot!": Resisting Naturalism - Jarry's Ubu Roi
"This Is Not Irish Life!": Defending National Identy - Synge's The Playboy of the Western World
"A Slander on the Citizen Army!": Vindicating Fallen Heroes - O'Casey's The Plough and the Stars
"Pfui!": Disdaining Experimentation - Brecht during the Weimar Republic: In the Jungle, Baal, Lehrstück, Mahagonny, and A Man's a Man
Selected Bibliography



Blackadder does an excellent job of describing and analyzing several important theater scandals that took place in Europe in the late 19th and early 20th centuries. Rather than dwelling on play plots and characters, critical analysis of plays, or the playwrights and their intentions (he assumes familiarity with the plays and the events discussed), the author describes and analyzes actual audience behavior and the possible reasons for such behavior. By concentrating on the audience reaction and its performance, instead of the theater and its practitioners, he increases understanding of the productions as theatrical events....Recommended. Upper-division undergraduates through faculty and professionals.—Choice

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