prefer black-and-white characters that are easily recognisable as heroes or villains. Secondly, the protagonist is a positively drawn swashbuckler and of a jovial character. In fact, the hero’s humour will turn into a defining character trait of the swashbuckler on screen. Thirdly, while the Byronic hero
respective cultural and political situation. Fairbanks Sr.’s Black Pirate represents the early twentieth-century American ‘can-do’ spirit, the laws of Flynn’s Dr. Blood reflect the establishment of a social welfare system in the US in the 1930s, and Baron Gruda, the villain in The Crimson Pirate , can be
Acts of Resistance in Late-Modernist Theatre, Richard Murphet presents a close analysis of the theatre practice of two ground-breaking artists – Richard Foreman and Jenny Kemp – active over the late twentieth and the early twenty-first century. In addition, he tracks the development of a form of ‘epileptic’ writing over the course of his own career as writer/director.
Murphet argues that these three auteurs have developed subversive alternatives to the previously dominant forms of dramatic realism in order to re-think the relationship between theatre and reality. They write and direct their own work, and their artistic experimentation is manifest in the tension created between their content and their form. Murphet investigates how the works are made, rather than focusing upon an interpretation of their meaning. Through an examination of these artists, we gain a deeper understanding of a late modernist paradigm shift in theatre practice.
both the narrative quality and the economic success of The Curse of the Black Pearl is best expressed by film critic Jeffrey M. Anderson:
When the summer of 2003 began, one of its least interesting cinematic prospects was a Jerry Bruckheimer-produced version of a famous amusement park ride. Now, as
the position of the captain on the Black Pearl resembles Lando, and the comic sidekicks C-3PO and R2-D2 are doubly mirrored by the soldiers Murtogg and Mullroy and the pirates Pintel and Ragetti. Both series work with villains who are presented as larger-than-life and linked to supernatural forces
Caribbean has turned into a huge success story and one of the most important franchise blockbuster series of the new millennium. Based on Disneyland’s theme park ride Pirates of the Caribbean , which first opened in 1967 in Anaheim, California, the first instalment The Curse of the Black Pearl was
black with grime that he occasionally needed to be dunked into the sea to recover its colour. Pirates wore whatever they could” (14). In fictional narratives, the pirates, and particularly their captains, are visually signified through elaborative costumes. However, by emphasising that Cleveland, once
mysteriously called throughout the series, is introduced in The Curse of the Black Pearl , by Elizabeth. Conspicuously, the governor’s daughter provides a history lesson to the two pirates Pintel and Ragetti, and the viewer, by explaining that “the Code of the Brethren [was] set down by the pirates Morgan and
concentrate on texts that are considered as classics of pirate fiction and are still in print or available on dvd , like Robert Louis Stevenson’s Treasure Island , James Matthew Barrie’s Peter and Wendy , or movies like Captain Blood and The Black Swan . The texts thus selected were divided into two big
“It’s all rather confusing, really” was one of the catchphrases used by Spike Milligan in his ground-breaking radio comedy program The Goon Show. In a series of mock-epics broadcast over the course of a decade, Milligan treated listeners to a cosmology governed by confusion, contradictions, fluidity and uncertainty. In
The Goon Show’s universe, time and space expand and contract seemingly at will and without notice.
The worldview featured in
The Goon Show looked both backward and forward: backward, in the sense that it paralleled strategies used by schoolchildren to understand time and space; forward, in the ways it anticipated and prefigured a number of key features of postmodern thought.
Winner of the Ann Saddlemyer Award 2017 of the Canadian Association for Theatre Research.