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