Dance and Dancers in the Victorian and Edwardian Music Hall Ballet
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A01=Alexandra Carter
Author_Alexandra Carter
Ballet Girls
British cultural history
Category=AV
Classical Ballet Vocabulary
Corps De Ballet
Crown Public House
dance historiography
Drawn Back
Empire Palaces
English Ballet
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
Fire Exits
gender performance studies
Moral Image
Music Hall Ballet
music hall ballet professional lives
Nautch Dance
nineteenth century theatre
Patriotic Works
Paul Taglioni
performing arts research
Residential Longevity
Sea Waters
Stage Door Johnny
working class women
Young Men
Product details
- ISBN 9781138618688
- Weight: 340g
- Dimensions: 152 x 235mm
- Publication Date: 31 Mar 2021
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Paperback
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First published in 2005. The Victorian and Edwardian music hall ballet has been a neglected facet of dance historiography, falling prey principally to the misguided assumption that any ballet not performed at the Opera House or 'legitimate' theatre necessarily meant it was of low cultural and artistic merit. Here Alexandra Carter identifies the traditional marginalization of the working class female participants in ballet historiography, and moves on to reinstate the 'lost' period of the music hall ballet and to apply a critical account of that period. Carter examines the working conditions of the dancers, the identities and professional lives of the ballet girls and the ways in which the ballet of the music hall embodied the sexual psyche of the period, particularly in its representations of the ballet girl and the ballerina. By drawing on newspapers, journals, theatre programmes, contemporary fiction, poetry and autobiography, Carter firmly locates the period in its social, economic and artistic context. The book culminates in the argument that there are direct links between the music hall ballet and what has been termed the 'birth' of British ballet in the 1930s; a link so long ignored by dance historians. This work will appeal not only to those interested in nineteenth century studies, but also to those working in the fields of dance studies, gender studies, cultural studies and the performing arts.
Alexandra Carter
