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.
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.
In ^IPerforming Opposition^R, through a sequence of case studies from Hauptmann's ^IBefore Sunrise^R in 1889 up to Brecht's ^IA Man's a Man^R in 1931, Neil Blackadder....shows the role of the spectator to be no less self-consciously performative than that of the actor onstage. In his scrupulous examination of a wealth of first-hand evidence his treatment is as engaged as it is even-handed. Consistently specific and empirical in his approach, he gives our understanding of audience behavior a focus that reception theorists seldom offer.
This fresh and intriguing study makes a significant contribution both to theatre history and to modernist studies. Blackadder provides fresh insight into some of the most riotous performances that heralded the rise of modern theatre. But even more importantly, he demonstrates how spectators may perform as active participants in the theatre event, as players whose role may be to energetically resist the performance onstage or to energetically support it. Blackadder exposes the now familiar and comfortable role of passive observer as only one, historically conditioned, role an audience may play.