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Through candid personal interviews with Lucille Ball, Carol Burnett, and other visionary performers, Queens of Comedy explores how comediennes have redefined the roles of women in not only the entertainment business, but society as a whole. Detailing both their public and private lives - as well as their many and varied performances - Queen of Comedy examines the impact these women have had on the predominantly male-oriented world of comedy. Performers like Carol Burnett, Joan Rivers, and their more recent counterparts, comediennes Brett Butler and Roseanne, have helped to sift women's roles in comedy from object to subject. This book maps out this shift, providing an often brutally honest picture of women's lives in both the spotlight of comedy and this modern world.
Married and working as a civil servant in a job centre, Sarah Millican's life couldn't have been more ordinary just over a decade ago. However, after the sudden break-up of her marriage, she decided to try something new and sign up for a writing workshop. It was to mark the beginning one of comedy's greatest success stories. Growing up as a child of the Miners' Strike which caused immense financial hardship for her family and a victim of bullying, Sarah's early years were far from easy. She had always been clever and creative, but had never managed to find the outlet for it. It wasn't until her thirties that she was finally recognised in spectacular fashion, as she went on to win the Best Newcomer Award after the Edinburgh Fringe Festival in 2008. A few years later, her first DVD's sales broke all records for a female comedian. Sarah's brand of Geordie warmth and humility mixed with a natural edginess and willingness to talk about all aspects of everyday life has won her millions of fans. She manages to push the boundaries while still seeming like your best friend, and it remains the great secret of her success. She is well on her way to 'national treasure' status. This is the story of how a shy, unassuming woman from South Shields became the Queen of British comedy.
Well-known French writer Théophile Gautier and Bernard Lopez combine their talents in this send-up of the cloak-and-sword dramas so popular with the Romantics. When the Spanish Queen's horse runs away with her, two unknown caballeros rescue Elizabeth from certain death--despite the fact that Spanish law prohibits anyone but the King and her closest attendants from touching her. But the Queen is not ungrateful, and Doña Beatrix, a Lady-in-Waiting, promises to marry the unknown savior, sight unseen, if the Queen can somehow save her rescuer from the capital punishment demanded by statute. A comedy of errors ensues, with two possible suitors pressing their claims upon Beatrix--and also on the Queen! A delightful and hilarious drama that should play well to modern audiences.
On the eve of the Golden Jubilee celebrations a papier-mâché statue of Queen Elizabeth II stands in Margaret Chivers' living-room in preparation for the Jubilee parade. Two factions converge on the house with the aim of vandalizing the statue - three girls who want to escape the embarrassment of dancing in the parade, and three lads wishing to make an anti-monarchist statement. Politics, friendship, Oliver Cromwell and Britney Spears feature in this ingenious comedy.3 women, 4 men
In this new volume of memoirs, Frank Skinner describes his experience of going back on the road doing stand-up again, after many years spent working mainly on television. His adventures on tour are by turns funny and moving as he meditates on growing older, the terrors and joys of trying to make a live audience laugh night after night and on the nature of comedy itself. For the first time we read a comedian's account, in his own words, of how his act is put together; his return to a world of dark little clubs and the strange encounters he has there. But what is perhaps most startling and original about Frank Skinner's writing is his honesty nbout not only the highs and lows of his career, but more intimate and personal issues - male sexuality and matters of the heart.
Whether it was Lucy and Ethel (Lucille Ball and Vivian Vance) or Eve Arden as Miss Brooks, Gale Storm as her dad's "little" Margie, always interfering but with the best of intentions, or the more modern Bea Arthur as Maude, flaunting the conventions of how a woman was supposed to behave, we all have our favorite funny ladies who brought us laughter every week, and, for a half-hour at least, took us away from our daily problems. Classic TV expert Michael Karol, in a series of original essays, examines the roles these Sitcom Queens played on TV, and how they became the beloved TV icons of generation after generation of TV fans. With a sitcom timeline and a Top 10!
The Western philosophical tradition shows a marked fondness for tragedy. From Plato and Aristotle, through German idealism, to contemporary reflections on the murderous violence of the twentieth century, philosophy has often looked to tragedy for resources to make suffering, grief, and death thinkable. But what if showing a preference for tragedy, philosophical thought has unwittingly and unknowingly aligned itself with a form of thinking that accepts injustice without protest? This collection explores possibilities for philosophical thinking that refuses the tragic model of thought, and turns instead to its often-overlooked companion: comedy. Comprising of a series of experiments ranging across the philosophical tradition, the essays in this volume propose to break, or at least suspend, the use of tragedy as an index of truth and philosophical worth. Instead, they explore new conceptions of solidarity, sympathy, critique, and justice. In addition, the essays collected here provide ample reason to believe that philosophical thinking, aligned with comedy, is capable of important and original insights, discoveries, and creations. The prejudicial acceptance of tragic seriousness only impoverishes the life of thought; it can be rejuvenated and renewed by laughter and the comic. This book was originally published as a special issue of Angelaki.
Stebbins begins with a history of stand-up comedy, giving vital background about the industry as it emerged and flourished in the United States and subsequently developed into a popular form of entertainment in Canada. He deals with the nature of comic performance in comedy rooms - cabarets designed specifically for stand-up comedy - and examines the career of the comic: how people become interested in comedy, how they progress as amateurs, how they survive on the road and how, sometimes, they become headliners and later writers for film and television. He also discusses the business of comedy: booking agents, comedy chains such as Yuk-Yuk's, room managers, and the comics themselves as entrepreneurs. As the first comprehensive study of a growing phenomenon, The Laugh-Makers will interest sociologists of humour and sociologists of occupations and will contribute to our understanding of Canadian popular culture.
This book examines writing both by and about Renaissance women rulers. It offers detailed analyses of poems, letters, and other writings by both Elizabeth I and Mary, Queen of Scots, and situates these firmly within the context of other literary figurings of Renaissance queens and queenship. It looks at a range of texts, ranging from the polemical (and largely ephemeral) treatises on the questions of female rule which were prompted by the sudden explosion of women rulers, to works by Shakespeare, Milton, and Elizabeth Cary, as well as the anonymous Arden of Faversham. The book as a whole thus explores both how Renaissance queens wrote themselves and how they were written by others.
The first evaluation and critique of Hegel's theory of tragedy and comedy, this book also develops an original theory of both genres.
The cultural highlights of the reign of Queen Anne (1702-1714) have long been overlooked. However, recent scholarship, including the present volume, is demonstrating that Anne has been seriously underestimated, both as a person, and as a monarch, and that there was much cultural activity of note in what might be called an interim period, coming after the deaths of Dryden and Purcell but before the blossoming of Pope and Handel, after the glories of Baroque architecture but before the triumph of Burlingtonian neoclassicism. The authors of Queen Anne and the Arts make a case for Anne’s reign as a time of experimentation and considerable accomplishment in new genres, some of which developed, some of which faded away. The volume includes essays on the music, drama, poetry, quasi-operas, political pamphlets, and architecture, as well as on newer genres, such as coin and medal collecting, hymns, and poetical miscellanies, all produced during Anne’s reign.

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