Home > Research > Publications & Outputs > But Is It Art? Female Performers in the Café-Co...

Research

Associated organisational unit

Electronic data

  • DisplayFulltext

    Rights statement: http://journals.cambridge.org/action/displayJournal?jid=NTQ The final, definitive version of this article has been published in the Journal, New Theatre Quarterly, 5 (20), pp 334-347 1989, © 1989 Cambridge University Press.

    Final published version, 1.72 MB, PDF document

Links

Text available via DOI:

View graph of relations

But Is It Art? Female Performers in the Café-Concert

Research output: Contribution to Journal/Magazine › Journal article › peer-review

Published

Standard

But Is It Art? Female Performers in the Café-Concert. / Harris, Geraldine.
In: New Theatre Quarterly, Vol. 5, No. 20, 01.11.1989, p. 334-347.

Research output: Contribution to Journal/Magazine › Journal article › peer-review

Harvard

Harris, G 1989, 'But Is It Art? Female Performers in the Café-Concert', New Theatre Quarterly, vol. 5, no. 20, pp. 334-347. https://doi.org/10.1017/S0266464X00003651

APA

Harris, G. (1989). But Is It Art? Female Performers in the Café-Concert. New Theatre Quarterly, 5(20), 334-347. https://doi.org/10.1017/S0266464X00003651

Vancouver

Harris G. But Is It Art? Female Performers in the Café-Concert. New Theatre Quarterly. 1989 Nov 1;5(20):334-347. doi: 10.1017/S0266464X00003651

Author

Harris, Geraldine. / But Is It Art? Female Performers in the Café-Concert. In: New Theatre Quarterly. 1989 ; Vol. 5, No. 20. pp. 334-347.

Bibtex

@article{f319f3f7538747da998461ff9cd8b722,
title = "But Is It Art? Female Performers in the Caf{\'e}-Concert",
abstract = "The Caf{\'e}-Concert as an object of study has tended to attract the interest of art rather than theatre historians, despite the fact that it was the major form of popular entertainment in France during the nineteenth century. Similar but not identical to the English music hall of the same period, the Caf{\'e}-Concert produced a number of stars of national importance, a large majority of whom were women. Through the writings of journalists and commentators of the period, this article explores how these female performers were perceived and constructed as objects of the public gaze. The author, Geraldine Harris, is a Lecturer in Theatre Studies at the University of Lancaster, with interests in both popular and feminist theatre.",
author = "Geraldine Harris",
note = "http://journals.cambridge.org/action/displayJournal?jid=NTQ The final, definitive version of this article has been published in the Journal, New Theatre Quarterly, 5 (20), pp 334-347 1989, {\textcopyright} 1989 Cambridge University Press.",
year = "1989",
month = nov,
day = "1",
doi = "10.1017/S0266464X00003651",
language = "English",
volume = "5",
pages = "334--347",
journal = "New Theatre Quarterly",
issn = "0266-464X",
publisher = "Cambridge University Press",
number = "20",

}

RIS

TY - JOUR

T1 - But Is It Art? Female Performers in the Café-Concert

AU - Harris, Geraldine

N1 - http://journals.cambridge.org/action/displayJournal?jid=NTQ The final, definitive version of this article has been published in the Journal, New Theatre Quarterly, 5 (20), pp 334-347 1989, © 1989 Cambridge University Press.

PY - 1989/11/1

Y1 - 1989/11/1

N2 - The Café-Concert as an object of study has tended to attract the interest of art rather than theatre historians, despite the fact that it was the major form of popular entertainment in France during the nineteenth century. Similar but not identical to the English music hall of the same period, the Café-Concert produced a number of stars of national importance, a large majority of whom were women. Through the writings of journalists and commentators of the period, this article explores how these female performers were perceived and constructed as objects of the public gaze. The author, Geraldine Harris, is a Lecturer in Theatre Studies at the University of Lancaster, with interests in both popular and feminist theatre.

AB - The Café-Concert as an object of study has tended to attract the interest of art rather than theatre historians, despite the fact that it was the major form of popular entertainment in France during the nineteenth century. Similar but not identical to the English music hall of the same period, the Café-Concert produced a number of stars of national importance, a large majority of whom were women. Through the writings of journalists and commentators of the period, this article explores how these female performers were perceived and constructed as objects of the public gaze. The author, Geraldine Harris, is a Lecturer in Theatre Studies at the University of Lancaster, with interests in both popular and feminist theatre.

U2 - 10.1017/S0266464X00003651

DO - 10.1017/S0266464X00003651

M3 - Journal article

VL - 5

SP - 334

EP - 347

JO - New Theatre Quarterly

JF - New Theatre Quarterly

SN - 0266-464X

IS - 20

ER -