Fringe and fortune: the role of critics in high and popular art
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Princeton, NJ [u.a.]
Princeton Univ. Press
1996
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XVI, 284, [14] S. Ill., graph. Darst. |
| ISBN: | 0691021457 0691026572 |
Internformat
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Datensatz im Suchindex
| _version_ | 1804125901383794688 |
|---|---|
| adam_text | CONTENTS
List of III ustra tions xi
List of Tables xii
Preface xiii
INTRODUCTION
A Critic s New Clothes 3
PART ONE: THE CRITIC 23
CHAPTER ONE
Cultural Mediation and the Status Bargain 25
CHAPTER TWO
Critics in the Performing Arts 42
PART TWO: THE FRINGE 61
CHAPTER THREE
Development of the Festival Fringe 63
CHAPTER FOUR
Festivals and the Modern Fringe 83
CHAPTER FIVE
Myth of the Fringe 109
PART THREE: THE TRIANGLE OF MEDIATION 123
CHAPTER SIX
Do Critics Matter? 125
CHAPTER SEVEN
Critical Evaluation 144
CHAPTER EIGHT
Do Performers Listen? 165
PART FOUR: BEYOND THE FRINGE 179
CHAPTER NINE
Beyond Formal Evaluation 181
X C (INTENTS
CHAPTER TEN
Discourse and Hierarchy 193
Epilogue 213
afpendix a
Review Genres 215
APPENDIX B
Methodological Note 218
APPENDIX C
Note on the Study of Mediation and Reception 221
APPENDIX D
Tables 223
Notes 229
Bibliography 265
Index 275
ILLUSTRATIONS
Photographs (following page 108)
Photographs 1 3 and 7 14 by Malcolm Cochranc,
4 6 by Wesley Shrum.
1. Festival Fringe Society, 180 High Street, Edinburgh.
2. Main workroom of the Fringe office.
3. Fringe press office.
4. Fringe Club, Teviot Row House, Bristo Square.
5. Opening press reception.
6. Main offices, the Scotsman.
7. Twecddalc Court, Royal Mile.
8. The List office, Tweeddale Court.
9. Main newsroom of the List.
10. The List office.
11. Hayden Murphy, the Oxford Bar, Young Street.
12. Courtyard of the Pleasance against the backdrop of the Salisbury
Crags.
13. Assembly Rooms.
14. Courtyard of Gilded Balloon II (Old Traverse Theatre) off the
Grassmarket.
Figures
4.1 Fringe program page, 1994. 85
4.2 Growth of the Fringe, 1947 1995. 90
4.3 Average audience size, 1973 1992. 91
4.4 Portion of Daily Diary page, 1994. 93
4.5 Map of Fringe venues, 1994. 94
4.6 Fringe theater and comedy, 1982 1994. 104
4.7 Trends in popular genres, 1982 1994. 104
TABLES
4.1 Geographical origin of Fringe companies, 1994 223
4.2 Fringe shows by genre, 1994 223
6.1 Audience size by genre at the 1988 Fringe 224
6.2 OLS regressions predicting natural log of attendance 225
6.3 OLS regressions predicting natural log of attendance:
High and popular genres 225
7.1 OLS regression predicting evaluations in the Scotsman 226
7.2 OLS regressions predicting reviews for high and
popular genres 226
7.3 Comparison of informal ratings with published evaluations 227
7.4 Informal ratings and published evaluations by genre 227
7.5 Measures of association between reviews 228
7.6 Model predicting review variation 228
|
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| title | Fringe and fortune the role of critics in high and popular art |
| title_auth | Fringe and fortune the role of critics in high and popular art |
| title_exact_search | Fringe and fortune the role of critics in high and popular art |
| title_full | Fringe and fortune the role of critics in high and popular art Wesley Monroe Shrum |
| title_fullStr | Fringe and fortune the role of critics in high and popular art Wesley Monroe Shrum |
| title_full_unstemmed | Fringe and fortune the role of critics in high and popular art Wesley Monroe Shrum |
| title_short | Fringe and fortune |
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| title_sub | the role of critics in high and popular art |
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