The Representation of Joe Whelks: Charles Dickens’s Reflections on a Theatre Audience

This article explores how Charles Dickens both alludes to and occludes the Victoria Theatre’s looking-glass curtain in his article ‘The Amusements of the People’ (1850). This vast mirror curtain hung at the Victoria in the early 1820s and again in the mid-1830s. Contending that Dickens would have been aware of this spectacular novelty, this article argues that his reference to the Victoria Theatre’s management ‘holding up a mirror’ to its audience is an allusion to the curtain. The mirror curtain reflected the working-class audience at the theatre back to itself, putting it ‘on the stage’, a comment on the nature of representation and its relationship to reality. Like theatre itself, which it also figured, the mirror curtain had a heterotopic nature, both representing and contesting reality. This challenge was particularly unsettling to middle-class onlookers in the context of the representation of an unrepresented (disenfranchised) plebeian audience. I argue that Dickens’s article, like the mirror curtain, reflects the Victoria’s working-class audience and that he alludes to the mirror when making radical arguments concerning the political and class-based nature of aesthetic judgements about representation. His article, however, remains equivocal about the right to working-class self-determination and enfranchisement that the mirror curtain represented. Dickens gestures to, but occludes, the curtain and displaces it with his own representation of the Victoria’s audience and his mediation on their behalf. Ultimately, the challenge posed by the looking-glass curtain to the social and aesthetic order is too great to be fully acknowledged.     

Participating together: dialogic space for children and architects in the design process

Typically enmeshed in the ‘voice’ perspective within children’s participation debates, there are currently sporadic insights into designer–child creative dialogue. Drawing on the findings of a Leverhulme Trust-funded research project, this paper articulates moments of dialogue between architects and children in spatial design processes, whose spatial and symbolic qualities help to understand the interactions and meeting of cultures. Several authors have discussed the transformational potential for adults and children to ‘co-author’ identities in dialogical contexts. The paper builds on this body of research to suggest that design dialogue offers the space, literally and metaphorically, for children and architects to participate together. Identifying the qualities of the dialogic design space as potentially present in children’s and adults’ everyday cultures and interdependent relations, it is proposed that this dialogical framework might diversify architects’ and children’s roles in the design process and enrich practices and perceptions of design participation.     

Went the Day Well: Scripts,Glamour and Performance in War‐weekends

The recent growth of interest in heritage events has relied implicitly upon a modernist ontology in the way assumptions are made about the distinctiveness between visitor and performer identities. This article questions these assumptions through an analysis of the different groups of social actors attracted to war‐weekends organised through preserved steam railways. War‐weekends bring together in the same locality visitors, volunteers, performers, dressers‐up and re‐enactors sharing stories, enjoying the present and reflecting on the past—experiences in which each individual’s participation is enhanced. Although these and other ‘events’ are crucial to the continued existence of preserved railways in the UK they provide the participants with more than just a nostalgic trip back to the community spirit articulated through the so‐called ‘blitz mentality’ of the 1940s. They provide the opportunity for participants to engage both in the theatrical act of ‘being on’; of being observed by the ‘audience’ whilst at the same time acting as audience in the way they observe the other participants in the spectacle. The participants’ need to be observed is accomplished without the necessity of engaging in the rigorous training and audition processes associated with formal theatrical environments, whilst audience participation and interaction is not constrained by the usual formalities of traditional theatre.     

Web communication can help theaters attract and keep younger audiences

This paper focuses on the use of web communication tools as a policy device to regulate access to theaters. By comparing the profile of what we call ‘tech-savvy’ spectators (i.e. audience using the website of a theater) with the profile of the general audience we examine whether the web can be regarded as an effective tool to address regular spectators or to reinforce the participation of different segments within the audience. The study suggests that the web appears to be the favorite direct marketing tool for informing or retaining ‘inexpert drama lovers’, namely those who fish in different types of performing arts events (i.e. opera, ballet, and classical concert) or attend different types of theatres. Moreover, internet may combat the aging of the performing arts audience by giving priority to access to those that are more familiar with the new technologies (i.e. younger audience).     

‘R.I.P. Nature Island’: the threat of a proposed oil refinery on Dominica's identity

Dominica is a small island nation in the eastern Caribbean Sea that has long struggled with issues of poverty and development. To improve these conditions, the government formed a preliminary agreement with Venezuela to build a multimillion dollar oil refinery on the island. Some discussion about this proposal took place in local forums, such as radio talk shows, but additional discussion took place online. Internet-based media, including online reproductions of traditional media and new types of media such as interactive discussion forums and weblogs, were used not only to continue the discussion but also to raise awareness among a wider audience. The framework for appealing to such a disparate set of interests both locally and abroad was already in place: the island's ‘nature island’ identity. The project was perceived as a threat to quality and aesthetic appearance of the nature island as well as a threat to the concept of Dominica as the ‘nature island’. This paper examines the role of Dominica's identity at the heart of this perceived threat in the construction of environmental discourses through internet-based media, such as online newspapers with associated discussion forums and blogs.     

Behaviour and attitude: the Theatre Talks method as audience development

This article analyses the result of an audience development project based on the method known as ‘Theatre Talks’, which places emphasis on the experience of theatrical events rather than on marketing or communication tools. This approach also questions some of the fundamental understandings of audience development, mainly the division between product-led and target-led audience development as they are conceived by Kawashima. The analysis of the results of the Theatre Talks project is based on an analytical framework combining Kawashima’s typology of audience development methods with Sheth and Frazier’s point about looking at attitude as well as behaviour when approaching both attenders and non-attenders. Within this frame, the article demonstrates how the Theatre Talks method can succeed in challenging the way in which very different groups of participants experience theatre.     

‘If I was Irish I'd be crying by now’: Irishness and exteriority,Doyle's Deportees and the Irish plays of Martin McDonagh

While variations on the relationship between Irishness and exteriority resound throughout Irish literature and Irish studies, the implications and applications of the version offered by Roddy Doyle's short story ‘Home to Harlem’ remain underdeveloped. This article explores the particular paradigm of Irishness derivable from Doyle's work, and is motivated by it to revisit and re-examine the Irish plays of Martin McDonagh and the question of audience relation to them. I argue that the constituents of the overly rehearsed ‘McDonagh enigma’ – his reliance on stereotypical representation and his highlighting of artifice – ensure a dynamic of recognition and exteriority in the Irish-identifying audience, which, in turn, enacts an extreme version of the process of Irishness extrapolable from Doyle.     

Music in factories: a twentieth-century technique for control of the productive self

This paper discusses the historical use of music to produce more efficient, more committed, industrial workers. First emerging in academia early in the twentieth century, psychological interest in the industrial application of music had grown into a topic of popular interest and government investigation by the 1940s. Catalysed by the need for vast increases in production and the desire to cultivate ‘citizenship’ amongst industrial workers which the Second World War produced, consideration of how music could be employed as an affective soundtrack in factories—to raise employees' work rates, to increase their efficiency, to combat fatigue and boredom, to improve morale, to access and manipulate their emotions and loyalties—became a prominent area of psychological research. This paper examines that psychological research and its largest scale application in the BBC radio show Music While You Work, broadcast daily to millions of British factory workers from 1940 until 1967. The paper focuses particularly on conceptualizations of music's affective power and its utilization to exert ‘emotional control’ over spaces of work and the working self. This paper is centrally concerned with the practice of Music While You Work as a programme broadcasting specifically for factory spaces, and how this confronted the BBC's music policies for a national and domestic audience, impacting on the radical nature of the affective soundtrack to work which was produced.     

The Tenco effect. Suicide,San Remo,and the social construction of the canzone d'autore

Abstract

Canzone d'autore is an indigenous expression that has no precise equivalent in other languages. Its social use identifies a genre of popular song that presuppose the existence of an ‘autore’ taken in its most vigorous sense, meaning a ‘creator’, an ‘artist’– but how did this claim to artistry originate? How did it insinuate itself into the world of song, a genre that by definition belongs to the realm of what is traditionally called in Italian ‘musica leggera,’ with unmistakably pejorative connotations? In this essay, I will put forward a sociological interpretation of the genesis of the canzone d'autore, using as a strategic conceptual device the idea of cultural trauma. The traumatic event that I propose to explore, making use of this concept and its analytical machinery, is the suicide of the singer-songwriter Luigi Tenco during the seventeenth San Remo ‘Festival della Canzone’ (‘song festival’) – that is the best-known, most controversial, and most influential single event in the field of Italian ‘musica leggera’, an annual event regularly attended every year – via radio, television, or audience participation – by millions of Italians. Through a reconstruction of that suicide and above all of the public and dramatic events that followed in response to it, the paper examines the social process that transformed an individual tragedy into a collective, social drama, a process that not only produced a new musical classification, but also a new cultural and aesthetic category.     

Seeds: Contracting the Audience in a Play about Science

Abstract

In pursuing the question ‘what can scientists learn from theatre?’ Particularly, ‘what can scientists, as scientists, learn from theatre?’ this paper argues that science lacks a normative framework that theatre is capable of providing. Despite science’s well-earned epistemic reputation, there is adequate reason to question its ethical reputation, particularly at the point where cutting edge scientific technology impacts society. I consider science as operating in four categories: the scientific method; the scientific hypothesis; the scientific experiment; and the scientist’s personal character. The realms of the scientist’s hypothesis and personal character are those where social pressures are reciprocally exerted, where imaginative play mentality and epistemic values are most in evidence. Theatre can examine these realms effectively because it is able to use narratives that appeal not only to logical and social moral judgements but to emotional and visceral responses, so as to situate science in the social context in which the pressures of law, funding, experimentation, society, and personal ambition converge in ‘the game of life’.

This can be seen in the theatrical process known as ‘contracting with the audience’. I point out a spectrum of traditional narrative tropes by which science makes “contracts with” audiences. The paper draws on theories of entrainment and theatrical game-play from Peter Stromberg and Philippe Gaulier, as well as my own practice and research into the process of contracting with the audience, to propose how to reach beyond tradition and to shift normalising contracts “outside the box”. To illustrate my proposition, I examine the play Seeds by Annabel Soutar as directed by Chris Abraham for Crow’s Theatre and Theatre Porte Parole. Seeds follows the controversial court battles of Saskatchewan farmer Percy Schmeiser against agricultural-biotech corporation Monsanto, which sued him for patent infringement of its Genetically Modified Organism Roundup Ready Canola. Seeds helps its audience define a public arena for discourse even as it brings to our attention the factors that make this difficult to do, while making an excellent contribution to the genre of ‘Documentary Theatre’. It is a successful contract with the audience that creates a public forum for discussion about contemporary ethical debates in science, thereby merging artistic ambiguity and scientific theory.     

A climatology of quiet/disturbed ionospheric conditions derived from 22 years of Westerbork interferometer observations

Knowledge of the quiet and disturbed conditions in the propagation medium is essential for quality control of transatmospheric radio signals. This holds equally for the troposphere and the ionosphere. This paper describes a climatology of ionospheric irregularities obtained from observations of celestial radio sources by radio interferometry, i.e. by the Westerbork Synthesis Radio Telescope (WSRT) in The Netherlands. This instrument is located at geomagnetic mid-latitude. All WSRT calibrator observations in the 22-year period 26 June 1970–31 December 1991 have been checked for manifestations of ionosopheric effects. Although seasonal effects are clear, the occurrence and ‘strength’ of ionospheric irregularities show no dependence on solar activity. Assuming that the frequency of occurrence of ionospheric disturbances in spring and autumn are similar, it is found that ‘ionospheric’ winter starts on day 348 ± 3 and all seasons last for 3 months. Medium-scale travelling ionospheric disturbances (TIDs) occur most frequently during the daytime in winter periods. The occurrence of non-periodic irregularities is, however, not a function of time in the day. The daily variation in the amplitude and frequency of the occurrence of the TIDs suggests that the solar terminator and Joule heating near the electrojets do not contribute substantially to their generation. Generation of gravity waves may be caused by winds and tides in the lower thermosphere-mesosphere. This has to be investigated further.On the basis of the available data, a ‘disturbance measure’, indicating to what extent the ionosphere is ‘quiet’, is proposed. The output of this project may be of immediate use for different ionospheric investigations, such as ionospheric modelling and the study of excitation mechanisms for ionospheric irregularities.     

Team Arab: al‐Jazeera and the flagging of everyday Arabism during the 2008 Beijing Olympics

The linking of living rooms across state borders by al‐Jazeera and other pan‐Arab satellite television channels has prompted claims that a ‘new Arabism’ that undermines state nationalism is emerging. Until now, analysts have mostly focused on the ‘hot’ Arabism in the news coverage of politicised events such as the Israel–Palestine conflict. This article offers a new dimension by suggesting that as important to satellite television's construction and reproduction of Arab identity is the everyday discourse found in less overtly political programmes such as sport. To demonstrate this, it offers an analysis of al‐Jazeera's coverage of the 2008 Beijing Olympics showing how the broadcasts address viewers as a common Arab audience who are simultaneously encouraged to be nationalistic towards their separate nation‐states within a given ‘Arab arena’ of states with whom they should primarily compete. This suggests that new Arabism should in fact be considered a ‘supranationalism’, not a revived Arab nationalism as it simultaneously promotes Arab and state identities in tandem. Finally, it aims to expand our understanding of ‘everyday nationalism’ by adapting Michael Billig's theory and methodology of ‘banal nationalism’ in British newspapers to facilitate the study of sport on supranational Arab identity on satellite television.     

Going ‘mainstream’: evaluating the instrumentalisation of multicultural arts

This paper considers how debates over the instrumentalisation of the arts have informed the cultural production of an Australian arts organisation – Multicultural Arts Victoria (MAV). In an effort to make multicultural arts more ‘mainstream’, MAV has increasingly adopted market‐based rationales for its work – particularly the use of ‘audience development’ policy frameworks. It is easy to evaluate this marketisation of multicultural arts negatively as an acceptance of neoliberal policy agendas and as a weakening of its commitment to ‘cultural development’ goals. This paper suggests, however, via a critique of Ghassan Hage’s analysis of multiculturalism, that such accounts do not consider how economic rationales actually sit in practice with MAV’s other (cultural development) agendas. Such critiques, therefore, preclude an affirmative reading of the instrumentalisation of multicultural arts. An alternative analytical framework is proposed – one which can more readily account for multicultural arts as a set of practices informed by diverse agendas, and which acknowledges how such practices might both contest and converge with official government policies.     

Confabulations: A Conceptual History

Confabulations are inaccurate or false narratives purporting to convey information about world or self. It is the received view that they are uttered by subjects intent on ‘covering up’ for a putative memory deficit. The epidemiology of confabulations is unknown. Speculated causes include amnesia, embarrassment, ‘frontal lobe’ damage, a subtype of ‘personality’, a dream-like event, and a disturbance of the self. Historical analysis shows that ‘confabulation’ was constructed at the turn of the century as part of a network of concepts (e.g. delusion, fixed idea, etc.) Meant to capture narratives with dubious content. This paper deals with the history of the construction of the word and concept of confabulation and with earlier recognitions of the behaviours that serve as their referent and puts forward a model based on historical data. Two phenomena are included under ‘confabulation’: ‘untrue’ utterances by subjects with memory impairment and ‘fantastic’ utterances marshalled with conviction by subjects suffering from psychoses and no memory deficit. Under different disguises, the ‘covering up’ or ‘gap filling’ hypothesis is still going strong. Although superficially plausible, it poses problems in regards to the issue of ‘awareness of purpose’: if full awareness is presumed, then it is difficult to differentiate confabulations from lying; if no awareness is presumed then the semantics of the concept of ‘purpose’ is severely stretched and confabulations cannot be differentiated from delusions. The received view of confabulations also neglects the clinical observation that confabulations (particularly provoked ones!) Do occur in dialogical situations: i.e., the manner of the asking may increase their probability. It is suggested here that confabulations are a disorder of a putative narrative function which is also found in ‘normal’ subjects. It is also hypothesized that this trait is normally distributed in the population. In the absence of adequate epidemiological information, research efforts should be directed at mapping the distribution of this narrative (or confabulatory) capacity in the community at large. Only then it will be possible to understand the significance of its disorders. In the long term, this approach will prove more heuristic than unwarranted speculation based on few anecdotal cases.     

Tokelau 1852 Exodus

The images of Fiji (and the Pacific generally) that were both employed and consumed at the international exhibitions of the late-19th and early-20th centuries — together with the stereotypes associated with such representations — exhibited a continuity that can be traced back to earlier accounts and displays of Pacific Island peoples. While attempts were made at later exhibitions to shift the focus of displays away from tales of ‘savagery’ and ‘cannibalism’ to those of ‘progress’, ‘civilisation’ and even ‘modernity’, the apparent popularity of Fiji's displays — as evidenced in contemporary accounts — remained firmly located in the appeal of the already existing ‘idea’ of Fiji. This article focuses on the representation of Fiji at two British imperial exhibitions: the 1886 Colonial and Indian Exhibition, and the 1924 British Empire Exhibition, and demonstrates that the ‘idea’ or ‘knowledge’ of Fiji that audiences brought to the exhibitions, and despite the best efforts of display organisers — usually representatives of the colonial administration — to reposition Fiji within the minds of the metropolitan audience, visitors — as always — saw what they wanted to and in so doing reconfirmed their ‘knowledge’ of Fiji.     

The geographical lives of commodities: problems of analysis and critique

In two programmatic essays, Peter Jackson has reviewed new critical research on the geographical lives of commodities. This paper offers a constructive critique of his particular reading of this research. It is argued that three major issues require urgent attention if critical geographers and fellow‐travellers are to take their commodity research forward. First, there is too much imprecision in the use of the related terms ‘commodities’, ‘commodification’ and ‘commoditization’. This threatens to render all three terms meaningless or at the very least confusing. Secondly, this lack of conceptual clarity is linked to the problem of superficial engagements with normative issues. It is argued that the recent geographical research on commodities has thus far glossed over important questions of both academic and lay judgement. Finally, the paper suggests that the ‘modest’ role for critical academics envisaged by Jackson and other commodity researchers is only defensible if questions of voice, message and audience are addressed systematically. Overall, the paper presents a menu of explanatory and normative issues that require attention if critical commodity analysts like Jackson are to maximize the potential of their research agenda.     

Performing dialogical Dutchness: negotiating a national imaginary in parenting guidance

In contemporary Europe, national identities are fiercely contested and governments have sought ways to strengthen national identification. Notwithstanding this European pattern, government policies are implemented differently and belonging to the nation comes to involve different images and enactments across contexts. In the Netherlands, especially, belonging to the nation is at stake in many high‐profile public and political struggles. In this context, a pervasive public imaginary we call ‘dialogical Dutchness’ represents the Dutch as distinctly anti‐nationalist and open to difference. This raises the question whether national boundaries actually become traversable in view of such a national imaginary. How does one become a Dutch subject if Dutchness entails not being nationalist? Through the analysis of a Dutch social policy practice – state‐provided parenting courses – we show how dialogical Dutchness is negotiated and transformed in actual enactments of national difference and belonging. Although dialogical Dutchness foregrounds openness to difference and valorises discussion, it comes to perpetuate and substantiate boundaries between those who belong to the nation and those whose belonging is still in question.     

Importing fascism: reappraising the British fascisti, 1923–1926

This article re-evaluates the ideology and significance of Britain’s first self-proclaimed fascist party, the British Fascisti (BF) between 1923 and 1926. It challenges the dominant scholarly perception of BF ideology as a virulent form of conservatism or ‘Conservatism with Knobs On’ by demonstrating that they represent a hybrid movement consisting of both domestic conservative and continental fascist ideas. Thus, the chief purpose of this article is to demonstrate the dynamics of what scholars refer to as ‘fascistisation’ – the adoption and re-contextualisation of fascist features by non-fascist political movements and regimes. The BF’s ideology represents an, at times, contradictory attempt to replicate the Italian Fascist movement and repackage it for a British audience – they were a ‘fascistized’ right-wing pressure group seeking a new, authoritarian state. Abstract notions of the ‘success’ of Mussolini’s fascist experiment in stemming a Bolshevik revolution and his achievements in bringing order and a new sense of patriotism were re-adapted to the British context. These ideas were manacled to British conservative ideas of Christianity, anti-Socialism and imperialism typically associated with Edwardian Die Hards. Ultimately, the BF’s ideology will be proved to be far more complex than scholars have been prepared to acknowledge during a period in which fascism was ill-defined.     

Cinema-going during the Gezi protests: claiming the right to the Emek movie theatre and Gezi Park

This paper explores the relationship between social movements, urban regeneration programmes and media outlets in cities, with a focus on the transformation of urban culture in regards to people’s engagement with the spaces of media platforms. The argument is based on the study of cinema-going practices of an audience community in Istanbul, during and preceding the Gezi uprising. By employing ethnographic methods, this paper interrogates the activism of an audience community against the impact of shopping-mallisation and commodification of Istanbul’s urban spaces under AKP rule. In order to reclaim ownership of their spaces and future, this audience community claimed their right to the Emek movie theatre, Gezi Park and other parks whilst creating their own outdoor screenings and social media platforms. This paper also provides an interpretation of social movement development attached to media outlets such as film festivals and screenings, particularly the development of spatial activism in relation to people’s use of films, streets and movie theatres, thus illustrating, challenging and reinforcing rights to the city. More broadly, it gives new insights on the film and protest culture of a ‘secular’ group within a predominantly Muslim population and shows alternative and creative methods of protesting during a popular uprising.