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Theatre and War 1933-1945 : Performance in Extremis / ed. by Michael Balfour.

Contributor(s): Material type: TextTextPublisher: New York ; Oxford : Berghahn Books, [2001]Copyright date: 2001Description: 1 online resource (208 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9781789203653
Subject(s): DDC classification:
  • 791.09409043 21
LOC classification:
  • PN2570 .T389 2001
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- CONTENTS -- THE CONTRIBUTORS -- ACKNOWLEDGEMENTS -- Introduction -- Part I: The Aesthetics of Fascism -- 1. The Adventures of Mother Cartridge-Pouch -- 2. Theatre and Politics of the Mussolini Regime -- 3. Towards an Aesthetic of Fascist Opera -- 4. Hitler’s Theatre -- Part II: Theatre, Occupation and Curfew -- 5. The War Years -- 6. The Role of Joan of Arc on the Stage of Occupied Paris -- Part III: Theatre Behind Barbed Wire -- 7. German Refugee Theatre in British Internment -- 8. Thespis Behind the Wire – A Personal Recollection -- 9. The Muses in Gulag -- 10. Cabaret in Concentration Camps -- Part IV: Theatre at the Front -- 11. Brigades at the Front -- Index
Summary: On an April evening in 1934, on the River Arno in Florence, an air squadron, an infantry, a cavalry brigade, fifty trucks, four field and machine gun batteries, ten field radio stations, and six photoelectric units presented a piece of theatre. The mass spectacle, 18 BL involved over two thousand amateur actors and was performed before an audience of twenty thousand. 18 BL is one of eleven extraordinary essays collected together for the first time. The essays have been selected and edited from a wide range of publications dating from the 1940s to the 1990s. The authors are academics, cultural historians, and theatre practitioners - some with direct experience of the harsh conditions of Europe during the war. Each author critically assesses the function of theatre in times of world crisis, exploring themes of Fascist aesthetic propaganda in Italy and Germany, of theatre re-education programmes in the Gulags of Russia, of cultural "sustenance" for the troops at the front and interned German refugees in the UK, or cabaret shows as a currency for survival in Jewish concentration camps.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781789203653

Frontmatter -- CONTENTS -- THE CONTRIBUTORS -- ACKNOWLEDGEMENTS -- Introduction -- Part I: The Aesthetics of Fascism -- 1. The Adventures of Mother Cartridge-Pouch -- 2. Theatre and Politics of the Mussolini Regime -- 3. Towards an Aesthetic of Fascist Opera -- 4. Hitler’s Theatre -- Part II: Theatre, Occupation and Curfew -- 5. The War Years -- 6. The Role of Joan of Arc on the Stage of Occupied Paris -- Part III: Theatre Behind Barbed Wire -- 7. German Refugee Theatre in British Internment -- 8. Thespis Behind the Wire – A Personal Recollection -- 9. The Muses in Gulag -- 10. Cabaret in Concentration Camps -- Part IV: Theatre at the Front -- 11. Brigades at the Front -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

On an April evening in 1934, on the River Arno in Florence, an air squadron, an infantry, a cavalry brigade, fifty trucks, four field and machine gun batteries, ten field radio stations, and six photoelectric units presented a piece of theatre. The mass spectacle, 18 BL involved over two thousand amateur actors and was performed before an audience of twenty thousand. 18 BL is one of eleven extraordinary essays collected together for the first time. The essays have been selected and edited from a wide range of publications dating from the 1940s to the 1990s. The authors are academics, cultural historians, and theatre practitioners - some with direct experience of the harsh conditions of Europe during the war. Each author critically assesses the function of theatre in times of world crisis, exploring themes of Fascist aesthetic propaganda in Italy and Germany, of theatre re-education programmes in the Gulags of Russia, of cultural "sustenance" for the troops at the front and interned German refugees in the UK, or cabaret shows as a currency for survival in Jewish concentration camps.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 26. Aug 2024)