
Genres and Provenance in the Comedy of W.S. Gilbert
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To consider a writer not so much by a study of individual works as by threads of linking generic modes tells us a great deal about cultural interconnections and the richly textured nature of theatrical experience. Pipes and Tabors offers a tapestry of overlapping genres and treatments, showing not just the design of the finished products but the shreds and patches which form the underside of the weave. According to Dorothy L. Sayers, life itself offers us the apparent loose ends of a design which will only be revealed from the front after death. In terms of Gilbertian comedy, we are privileged to be able to track both the effort of the weave and the skill of the finished product. On the way we will also discover some new links and sub-text implications about other 19th century denigrated groups which were buried from sight for too long.
Reviews / Votes
'For those with an existing knowledge of the general theatrical history of the period Moore provides an invaluable insight .... For those who lack the knowledge but have the interest, the author provides lines of investigation to explore that would be difficult to locate elsewhere .... Very highly recommended'.-- Roderick Murray, W.S. Gilbert Society Journal
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Content
Part One : Background and Developments
Part Two : Genres and Their Treatment :
a) Masque, Dumb-Show and the Pastoral
b) Irish Drama: Examples from Boucicault and Elsewhere
c) Opera, Tragedy and Politics : The Burlesque Response
d) Nautical Burlesque
c) Burlesque Melodrama and Gothic Parody
d) Burlesque Sensation
e) Nonsense and Surrealism.
f) Pantomime
g) Genres of the Supernatural : Fairies, Diabolism and the Realm of Magic
h) Farce as a genre and expression of the Comic Spirit.
Part Three :
Other genres and Concluding Observations.
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