Popular Performance

There is no fourth wall in popular performance. The show is firmly rooted in the here and now, and the performers address the audience directly, while the audience answer back with laughter, applause or heckling. Performer and role are interlaced, so that we are left uncertain about just how the persona we see onstage might relate to the private person who presents it to us.

Popular Performance defines and surveys varieties of performance where the main purpose is to entertain, and where there is no shame in being trivial, frivolous or nonsensical as long as people go home happy at the end of the show. Contributions by new and established scholars focus particularly on how it is made, explaining the techniques of performance and production that make it so appealing to audiences. With sections examining how popular performance works in a range of historical and contemporary examples, readers will gain insights into:

* performance forms associated with the variety tradition: music hall, vaudeville, cabaret, variety
* performance forms associated with circus: wild west shows, clowning
* issues relating to the identity of the performer in relation to magic, burlesque, pantomime in contemporary performance
* issues relating to venue and audience in relation to contemporary street theatre, stand-up, and live sketch comedy.

Adam Ainsworth is senior lecturer in Drama at Kingston University, London, UK. His research interests include 19th-century pantomime, music hall and variety theatre and he is currently undertaking doctoral research that will produce the first detailed history of the Empire Theatre at Kingston-upon-Thames. He co-convenes the TaPRA Popular Performance Working Group.
Oliver Double started his career as a professional comedian before lecturing on and teaching drama and comedy at the University of Kent, UK. He is the author of many journal articles on stand-up comedy and comedians. His publications include Stand Up: On Being A Comedian (2005) and Getting the Joke (2nd edition, 2014).
Louise Peacock is assistant professor of theatre practice at the University of Southern California, USA. She is the author of Serious Play: Modern Clown Performance (2009) and Slapstick and Comic Performance: Comedy and Pain (2014). She is a member of the editorial board of Comedy Studies.

Introduction
Section 1: Historical examples – the variety tradition
Chapter 1 Dan Leno's music hall songs: an adaptive repertoire for a changing audience. (Caroline Radcliffe, University of Birmingham, UK)
Chapter 2 Vaudeville in America (Leigh Woods, Professor of Theatre, University of Michigan)
Chapter 3 It's 1922 and at the Munich Kammerspiele Karl Valentin performs Der Christbaumbrettl at Die rote Zibebe (Michael Wilson, Professor of Drama, Loughborough University)
Chapter 4 Packed from Pit to Ceiling: the Kingston Empire and British Variety (Adam Ainsworth, Kingston University, UK)

Section 2: Historical examples – Circus
Chapter 5 The Authentic Circus of 'Buffalo Bill's Wild West' (Grant Olsen, Kingston University, UK)
Chapter 6 Grock: Genius among Clowns (Louise Peacock, University of Hull, UK)

Section 3: Contemporary examples – performer identity
Chapter 7 'Now you see it...': tradition, innovation and power in contemporary conjuring. (Mick Mangan, Loughborough University, UK)
Chapter 8 Teasing Theories: The Female Body as Palimpsest (Dr. Lynn Sally, Metropolitan College of New York, USA)
Chapter 9 "Hiya Fans!" Celebrity Performance and Reception in Modern British Pantomime (Simon Sladen, V&A Museum, UK)

Section 4: Contemporary examples – venue and audience
Chapter 10 Street Theatre: With them, not at them (Bim Mason, Circomedia, UK)
Chapter 11 Stand-up: the Life of a Comedy Club (Sophie Quirk, University of Kent, UK)
Chapter 12 'It feels like a group of friends messing around onstage.' Pappy's and live sketch comedy (Oliver Double, University of Kent, UK)

Conclusion
Endnotes
Bibliography
Index
Notes on Contributors

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