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Popular Musical Theatre in London and Berlin
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Book description

In the decades before the Second World War, popular musical theatre was one of the most influential forms of entertainment. This is the first book to reconstruct early popular musical theatre as a transnational and highly cosmopolitan industry that included everything from revues and operettas to dance halls and cabaret. Bringing together contributors from Britain and Germany, this collection moves beyond national theatre histories to study Anglo-German relations at a period of intense hostility and rivalry. Chapters frame the entertainment zones of London and Berlin against the wider trading routes of cultural transfer, where empire and transatlantic song and dance produced, perhaps for the first time, a genuinely international culture. Exploring adaptations and translations of works under the influence of political propaganda, this collection will be of interest both to musical theatre enthusiasts and to those interested in the wider history of modernism.

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Contents

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Bailey, Peter, ‘“Naughty but Nice”: Musical Comedy and the Rhetoric of the Girl, 1892–1914’ in Michael R. Booth and Joel H. Kaplan (eds.), The Edwardian Theatre: Essays on Performance and the Stage (Cambridge University Press, 1996), 36–60.
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Bailey, PeterTheatres of Entertainment/Spaces of Modernity: Rethinking the British Popular Stage 1890–1914’, Nineteenth Century Theatre, 26/1 (1998), 5–24.
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Bratton, JackyThe Making of the West End Stage: Marriage, Management and the Mapping of Gender in London 1830–1870 (Cambridge University Press, 2011).
Becker, Tobias, ‘Feste des Konsums? Unterhaltungstheater und Warenhäuser in Berlin und London um 1900’ in Erika Fischer-Lichte and Matthias Warstat (eds.), Staging Festivity: Theater und Fest in Europa (Tübingen: Fincke, 2009), 216–37.
Becker, Tobias, ‘Before the Megamusical: The Theatre Industry in London and Berlin, 1880–1930’ in Christiane Eisenberg and Andreas Gestrich (eds.), Cultural Industries in Britain and Germany: Sport, Music and Entertainment from the Eighteenth to the Twentieth Century (Augsburg: Wißner-Verlag, 2012), 49–63.
Booth, Michael R., and Joel H. Kaplan (eds.), The Edwardian Theatre: Essays on Performance and the Stage (Cambridge University Press, 1996).
Davis, Tracy C., The Economics of the British Stage 1800–1914 (Cambridge University Press, 2000).
Frey, Stefan, ‘Laughter Under Tears’. Emmerich Kalman. An Operetta Biography (Los Angeles: Operetta Foundation, 2014).
Freydank, Ruth (ed.), Theater als Geschäft: Berlin und seine Privattheater um die Jahrhundertwende (Berlin: Ed. Hentrich, 1995).
Geppert, Dominik, and Robert Gerwarth (eds.), Wilhelmine Germany and Edwardian Britain: Essays on Cultural Affinity (Oxford University Press, 2008).
Gale, Maggie B., and Viv Gardner (eds.), Women, Theatre and Performance: New Histories, New Historiographies (Manchester University Press, 2000).
Gänzl, Kurt, The Encyclopaedia of the Musical Theatre (Oxford: Blackwell, 1994).
Gardner, Viv, and Susan Rutherford (eds.), The New Woman and Her Sisters: Feminism and Theatre, 1850–1914 (New York: Harvester Wheatsheaf, 1992).
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Grosch, Nils (ed.), Aspekte des modernen Musiktheaters in der Weimarer Republik (Münster: Waxmann, 2004).
Haken, Boris von, Der Reichsdramaturg: Rainer Schlösser und die Musiktheater-Politik in der NS-Zeit (Hamburg: Bockel, 2007).
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Jelavich, Peter, Berlin Cabaret (Cambridge, Mass.: Harvard University Press, 1993).
Klotz, Volker, Operette. Porträt und Handbuch einer unerhörten Kunst (Munich: Piper, 1991).
Lamb, Andrew, 150 Years of Popular Musical Theatre (New Haven, Conn.: Yale University Press, 2000).
Linhardt, Marion, Residenzstadt und Metropole. Zu einer kulturellen Topographie des Wiener Unterhaltungstheaters (1858–1918) (Tübingen: Niemeyer, 2006).
Linhardt, Marion (ed.), Stimmen zur Unterhaltung. Operette und Revue in der publizistischen Debatte (1906–1933) (Wien: Lehner, 2009).
Linton, David, ‘New Insecurities, New Form, New Identity – National Identity and Raciologies in Eightpence a Mile (1913)’, Studies in Musical Theatre, 7/1 (2012), 9–22.
Mander, Raymond, and Joe Mitchenson, Musical Comedy: A Story in Pictures (London: Peter Davies, 1969).
Mander, Raymond, and Joe MitchensonRevue: A Story in Pictures (London: Peter Davies, 1971).
Otte, Marline, Jewish Identities in German Popular Entertainment, 1890–1933 (Cambridge University Press, 2006).
Platt, Len, Musical Comedy on the West End Stage, 1890–1939 (Basingstoke: Palgrave Macmillan, 2004).
Platt, Len, and Tobias Becker, ‘Berlin/London: London/Berlin – Cultural Transfer, Musical Theatre and the “Cosmopolitan”, 1890–1914’, Nineteenth Century Theatre and Film, 40/1 (2013), 1–14.
Platt, Len, and Tobias BeckerPopular Musical Theatre, Cultural Transfer, Modernities – London/Berlin, 1890–1930’, Theatre Journal, 65/1 (2013), 1–18.
Postlewaite, Thomas, ‘George Edwardes and Musical Comedy. The Transformations of London Theatre and Society, 1878–1914’ in Tracy Davis and Peter Holland (eds.), The Performing Century: Nineteenth-Century Theatre’s History (Basingstoke: Palgrave Macmillan, 2007), 80–102.
Rappaport, Erika D., Shopping for Pleasure: Women in the Making of London’s West End (Princeton University Press, 2000).
Schaller, Wolfgang (ed.), Operette unterm Hakenkreuz. Zwischen hoffähiger Kunst und ‘Entartung’. Beiträge einer Tagung der Staatsoperette Dresden (Berlin: Metropol, 2007).
Scott, Derek B., Sounds of the Metropolis: The 19th-Century Popular Music Revolution in London, New York, Paris and Vienna (Oxford University Press, 2008).
Singleton, Brian, Oscar Asche, Orientalism, and British Musical Comedy (Westport, Conn.: Praeger, 2004).
Stahrenberg, Carolin, ‘Hot Spots’ von Café bis Kabarett: Musikalische Handlungsräume im Berlin Mischa Spolianskys 1918–1933 (Münster: Waxmann, 2012).
Traubner, Richard, Operetta: A Theatrical History (Oxford University Press, 1983).
Walsh, David, and Len Platt, Musical Theater and American Culture (London: Praeger, 2003).
Williams, Gordon, British Theatre in the Great War: A Revaluation (London: Continuum, 2003).