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1	Social discourse in the Savoy Theatre's productions of The nautch girl (1891) and Utopia Limited (1893) exoticism and Victorian self-reflection / Hicks, William L., January 2003 (has links) Thesis (M.M.)--University of North Texas, 2003. / Includes bibliographical references (p. 102-107).
2	Social Discourse in the Savoy Theatre's Productions of The Nautch Girl (1891) and Utopia Limited (1893): Exoticism and Victorian Self-Reflection Hicks, William L. 08 1900 (has links) As a consequence to Gilbert and Sullivan's famed Carpet Quarrel, two operettas with decidedly "exotic" themes, The Nautch Girl; or, The Rajah of Chutneypore, and Utopia Limited; or, The Flowers of Progress were presented to London audiences. Neither has been accepted as part of the larger Savoy canon. This thesis considers the conspicuous business atmosphere of their originally performed contexts to understand why this situation arose. Critical social theory makes it possible to read the two documents as overt reflections on British imperialism. Examined more closely, however, the operettas reveal a great deal more about the highly introverted nature of exotic representation and the ambiguous dialogue between race and class hierarchies in late nineteenth-century British society. Solomon, Edward, 1855-1895. Nautch girl. Savoy Theatre (London, England) Exoticism in music Savoy Theatre London - 1890s Gilbert & Sullivan Edward Solomon social discourse in British light opera
3	Performing Protest in Cross-Cultural Spaces: Paul Robeson and Othello Sawyer, Robert 01 September 2017 (has links) When the famous African-American actor and singer Paul Robeson played the lead in Shakespeare's Othello in London in 1930, tickets were in high demand during the production's first week. The critical response, however, was less positive, although the reviews unanimously praised his bass-baritone delivery. When Robeson again played Othello on Broadway thirteen years later, critics praised not only his voice but also his acting, the drama running for 296 performances. My argument concerning Robeson uses elements first noted by Henri Lefebvre in his seminal work, The Production of Space, while I also draw on Paul Connerton's work on commemorative practices. Using spatial and memorial theories as a backdrop for examining his two portrayals, I suggest that Robeson's nascent geopolitical awareness following the 1930 production, combined with his already celebrated musical voice, allowed him to perform the role more dramatically in 1943. commemoration fascism Henri Lefebvre Josè Ferrer Margaret Webster Othello Paul Connerton Paul Robeson Peggy Ashcroft protest Savoy Theatre show boat Spanish Civil War Literature and Language

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