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Titlebook: Alternative Comedy Now and Then; Critical Perspective Oliver Double,Sharon Lockyer Book 2022 The Editor(s) (if applicable) and The Author(s

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樓主: 債務(wù)人
41#
發(fā)表于 2025-3-28 17:28:09 | 只看該作者
Oliver Double,Sharon LockyerAdopts a distinctive interdisciplinary approach.Includes a vibrant mix of established international academics in their fields and early-career researchers.Provides an alternative comedy timeline outli
42#
發(fā)表于 2025-3-28 20:18:07 | 只看該作者
Palgrave Studies in Comedyhttp://image.papertrans.cn/a/image/154042.jpg
43#
發(fā)表于 2025-3-29 01:16:19 | 只看該作者
https://doi.org/10.1007/978-3-030-97351-3Alternative Comedy; Cabaret; Stand-Up; Popular; Performance
44#
發(fā)表于 2025-3-29 03:57:53 | 只看該作者
45#
發(fā)表于 2025-3-29 07:17:50 | 只看該作者
46#
發(fā)表于 2025-3-29 13:06:06 | 只看該作者
Alternative Comedy Now and Then: An Introduction,omedy—or ‘a(chǎn)lternative cabaret’, as it was often known—was more diverse than is often remembered. Flyers from CAST New Variety are analysed to show how diverse the acts could be, in terms of both performers’ identities and performance genre. It goes on to explore manifestations of alternative comedy
47#
發(fā)表于 2025-3-29 18:20:51 | 只看該作者
Alternative Comedy Timeline,its beginnings in 1979–1980 with the opening of the Comedy Store in Soho, London, and the formation of Alternative Cabaret and the Comic Strip. It then traces manifestations of alternative comedy from the 1980s to present, drawing a line that connects Cluub Zarathustra, Robin Ince’s Book Club, Weird
48#
發(fā)表于 2025-3-29 21:01:44 | 只看該作者
The Meccano Club: The Business of Alternative Comedyfrom the British Stand-Up Comedy Archive at the University of Kent, UK. It starts with a detailed account of the Meccano, explaining how it started, grew and was eventually sold as a going concern, the particular audience it attracted and the nature of the physical spaces in which the shows were run
49#
發(fā)表于 2025-3-29 23:58:36 | 只看該作者
50#
發(fā)表于 2025-3-30 04:22:57 | 只看該作者
The Story of Cabaret A Go Goian Jansen. Calling themselves the Fun Committee, they organised alternative cabaret shows at the Broken Doll pub and the Live Theatre on Newcastle’s Quayside during the tail-end of the 1980s. This chapter tells the story of Cabaret A Go Go through the lens of its promotional art. Initially inspired
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