- Paperback: 256 pages
- Publisher: Manchester University Press; illustrated edition edition (29 May 2003)
- Language English
- ISBN-10: 0719061474
- ISBN-13: 978-0719061479
- Product Dimensions: 23.5 x 15.5 x 1.5 cm
- Average Customer Review: 5.0 out of 5 stars See all reviews (1 customer review)
- Amazon Bestsellers Rank: 572,762 in Books (See Top 100 in Books)
- See Complete Table of Contents
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More About the Author
Product Description
Product Description
Music hall reflected the lifestyles and preoccupations of working people in a way that only television in the modern era has done since. While London dominated the wider British music hall, Glasgow was the centre of a vigorous Scottish performing culture developed in a Presbyterian society with a very different experience of industrial urbanisation. This book explores all aspects of the Scottish music hall industry, from the lives and professional culture of performers and impresarios to the place of music hall in Scottish life. It explores issues of national identity in terms of Scottish audiences' responses to the promotion of imperial themes in songs and performing material, and in the version of Scottish identity projected by Lauder and other kilted acts at home and abroad.
About the Author
Paul Maloney in Publications Editor for Scottish Opera
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Customer Reviews
Most Helpful Customer Reviews
1 of 1 people found the following review helpful
Format:Hardcover
This book traces the history of the Music-hall in Scotland in a clear and scholarly manner. If there is a theme running through it, I would think it would be "it's more complicated than you think". That is to say, the author tries to understand Scottish music hall and not just to recount it, and comes up with interesting hypotheses on two issues :
Firstly, he underlines the fact that the music hall performers in many Scottish halls were closely linked to their audiences, many were part-timers who lived with the people they played for etc.
Secondly, he claims that the use of stereotypes of Scotsmen on the music hall stage cannot only be understood as an English-inspired mockery. Scottish stereotypes were also used to project a unified image of Scotland in reality divided between towndwellers and highlanders, and these images were very popular among exiled Scots.
Firstly, he underlines the fact that the music hall performers in many Scottish halls were closely linked to their audiences, many were part-timers who lived with the people they played for etc.
Secondly, he claims that the use of stereotypes of Scotsmen on the music hall stage cannot only be understood as an English-inspired mockery. Scottish stereotypes were also used to project a unified image of Scotland in reality divided between towndwellers and highlanders, and these images were very popular among exiled Scots.
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