Popular Entertainments

The Popular Entertainments Working Group was set up at the 2006 Helsinki IFTR conference to give an enduring scholarly voice to the investigation of popular entertainments.

Popular entertainments have suffered from scholarly neglect, possibly because their very ephemerality makes documentation and analysis extremely difficult. As well, the meaning and definition of both 'popular' and 'entertainment' remain widely contested, retaining pejorative connotations that are at odds with their transnational significance.

At the outset, we felt that show people and their contributions were largely unrecognised. Yet it could be argued that they together with their menageries, their entourage of highly skilled physical performers, their clowns, have always been successful cultural emissaries able to cross national borders seemingly at will, and to transcend the limitations of language in a manner that theatre has largely been unable to match.

Certainly since the 19th century the speciality acts of contortionists, equestrians, jugglers, aerialists, strong men, illusionists and 'prodigies' have found a home in both the variety theatres and circus tents. Also the interactions between humans and animals – horses, dogs, bears, monkeys, lions or tigers – have delighted and amazed generations and have thus played a significant role in 'the social construction of happiness.'

In the period since 2006 the scope of the Working Group has continued to broaden, thereby reflecting the changing interests of its members. Current discussions include such areas as popular entertainments in the context of a mediatised culture, street performances, historic and contemporary forms of circus, music theatre, vaudeville, minstrelsy, and the role of children in the entertainment business. 

 

The Working Group continues to be interested in exploring such issues and themes as:

·       the role of popular entertainments in the formation of national identities;

·       the influence of popular entertainments on national theatres;

·       the performative practices of variety and circus shows and other forms of popular   

  entertainment;

·       spaces and spatiality of the popular: the unbounded venue;

·       documenting non-text based performance;

·       transnational careers of popular performers;

·       the implications of (world wide) travel of circus/variety shows

·       popular entertainment and notions of 'liveness';

·       popular entertainments as industries;

·       the role of the spectators and their reception of performances that challenge the conventional boundaries  

        of performative behaviour and physical endurance;

·       strategies for retrieving and analysing popular entertainment data;

·       spectacle and celebration;

·       the economics of the popular;

·       performing the popular;

·       sport as popular entertainment.

 

The Popular Entertainments Working Group strives to bring together new, emerging, and established scholars and scholar/practitioners and welcomes participants from a range of complementary disciplines.

Report Belgrade 2018

The working group had 16 abstract submissions for the 2018 conference. Due to some cancellations, the working group read and discussed 9 papers in Belgrade. As always, longer drafts were circulated before the meeting. A large number of topics were discussed, from circus to vaudeville, pantomime and variety, to the infrastructure of popular entertainments and division between high/fine- and low/popular culture. The fruitful discussions were very stimulating leading towards the established goal of the working group – to write a joint publication.

Uniting all papers were a discussion of methodology, or methodologies, relevant for popular entertainments. This was also part of the overall aim decided on in Sao Paulo, 2017. At the final meeting in Belgrade, it was decided that the work on different methodologies for research in popular entertainments should be developed further, over the next couple of years. The group will continue working towards a joint publication, either book, or some other form of publication, in the following two or three years. We therefore invite all researchers interested in research methodology connected to popular entertainments to attend upcoming conferences, where the focus of the working group will be to discuss and develop the planned publication.

The working group is now using a closed Wordpress site for sharing article drafts. This site will be developed further to include different source material relevant for the group. After the meeting an online election for new convener was organized, electing Dr Jason Price as new convener for 2019 and 2020.

 

The joint convenors of the Popular Entertainments Working Group are:

Dr Mikael Stromberg, University of Gothenburg, Sweden, mikael.stromberg@gu.se

Dr Jason Price, University of Sussex, United Kingdom, j.price@sussex.ac.uk

 

CFP Popular Entertainments Working Group 2019

CFP Popular Entertainments Working Group 2019

17 September, 2018 by Mikael Stromberg | 0 comments

The Popular Entertainments Working Group will be meeting again during the next conference of the International Federation for Theatre Research, at the Shanghai Theatre Academy, China, 8-12 July 2019 Read more

Popular Entertainments Work Group Call for Papers

Popular Entertainments Work Group Call for Papers

12 December, 2017 by Gillian Arrighi | 0 comments

The Popular Entertainments Working Group welcomes papers from emerging researchers and those joining the Working Group for the first time. Occasional attendees and members are welcome to participate. Read more

CFP Popular Entertainments Working Group

CFP Popular Entertainments Working Group

10 December, 2016 by Mikael Stromberg | 0 comments

The Popular Entertainments Working Group will be meeting again during the next conference of the International Federation for Theatre Research, at the Universidade de São Paulo, Brazil, 10-14 July 201 Read more

Popular Entertainments

Popular Entertainments

20 November, 2014 | 0 comments

Popular entertainments have suffered from scholarly neglect, possibly because their very ephemerality makes documentation and analysis extremely difficult. As well, the meaning and definition of both 'popular' and 'entertainment' remain widely contested, retaining pejorative connotations that are at odds with their transnational significance. Read more

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