Titlebook: British Theatre and the Great War, 1914 - 1919; New Perspectives Andrew Maunder Book 2015 The Editor(s) (if applicable) and The Author(s) 2

量被毀壞

https://doi.org/10.1007/978-3-322-88348-3er World War II that ‘a(chǎn) prisoner of war is a man who tries to kill you and fails, and then asks you not to kill him’.. Though undoubtedly individuals surrendered, it was more common for members of a platoon or company to surrender en masse. It was safer to do so. The statistics speak for themselves:

賞心悅目

‘This Unhappy Nation’: War on the Stage in 1914melodramatic’. Certainly, it was likely to shun anything ‘that adds at all to the burden of sadness that the War brings into the midst of us’.. For the theatre industry, meanwhile. the fear was that audiences would vanish, finding the entertainment on offer to be unnecessary or distasteful; and perh

意外

From Sex-war to Factory Floor: Theatrical Depictions of Women’s Work during the First World Warso-called ‘canary girls’, their skin dyed deep yellow for life from contact with TNT.. At the end of the war, Helen Fraser, a suffragist who became a government spokesperson for war-time recruitment of women, recorded that 1,250,000 women had directly replaced men in industry, 1,000,000 had been emp

侵略者

Edith Craig and the Pioneer Players: London’s International Art Theatre in a ‘Khaki-clad and Khaki-msuccessful years during the war in spite of (and to some extent as a direct result of) financial and other constraints. The society responded to the war by presenting plays that showed how it affected non-combatants and putting on fund-raising productions for war charities. Most explicitly addressin

委派

‘A Sweet Tribute to Her Memory’: War-time Edith Cavell Plays and Films and the Spanish Marquis de Villalobar. Baron Oscar von der Lancken, the German civilian Governor-General, appealed in vain to von Sauberzweig. In the early morning of the 11 October, Cavell and the clandestine Belgian journalist Philippe Baucq were shot and buried at the Tir National firing range i

規(guī)章

The Theatre of the Flappers?: Gender, Spectatorship and the ‘Womanisation’ of Theatre 1914–1918ent on, in ideals and all the finer things’ and asserts that ‘while the men on leave came and went, [the Flapper] remained, helping one soldier after another to spend his money on the entertainment she chose’. She was ‘a(chǎn)n excited, uneducated young person who couldn’t be bothered to listen to a play

Femish

Awning

British Cinema, Regulation and the War Effort, 1914–1918nt that a profit could be made from showing films on their own.. In a number of towns theatres and even skating rinks were transformed into cinemas. In April 1914, for example, the Sadler’s Wells Theatre in Clerkenwell, London, which had also served as a music hall, put on its final stage production

倔強不能

A City’s Toys: Theatre in Birmingham 1914–1918ents firm and the Lanchester Motor Company.. The result during the war was the production of ambulances, staff cars, armoured cars, bicycles and motor bikes used by despatch riders and eventually aeroplanes. Vast quantities of cartridges, shell cases and detonators were produced along with, as Marti

寬宏大量

Entertaining the Anzacs: Performances for Australian and New Zealand Troops on Leave in London, 1916space and extraordinary commemorative function of the Shakespeare, it too provided a specific Australian ‘home’ for Anzacs, adjacent, as it was, to the site of the Australian High Commission, in the process of construction. By 1917, the Australian YMCA had also taken over the nearby Aldwych Theatre,