<b>Charabanc, cultural capital and the men of recognised credit</b><br>

Autores

  • Brenda Winter Queen's University Belfast

DOI:

https://doi.org/10.5007/2175-8026.2010n58p439

Palavras-chave:

Charabanc, Field Day, Cultural Capital, Gender, Archival Research, Irish Theatre History, The Economics of Theatre

Resumo

This paper compares the cultural legacy of the all-female Charabanc with that of Field Day, its fellow counterpart in the Irish Theatre touring movement in the 1980s. It suggests that a conscious awareness amongst the all-male Field Day board of successful writers and directors of what Bourdieu has called 'cultural capital' is implicated in the enduring authority of the work of that company within the history of Irish theatre. Conversely the paper considers if the populist Charabanc, in its steadfast refusal to engage with the hierarchies of academia and publishing, was too neglectful of the cultural capital which it accrued in      its heyday and has thus been party to its own occlusion from that same history.

Biografia do Autor

Brenda Winter, Queen's University Belfast

Brenda Winter is an actress, director and writer. She was a founder member of Charabanc, the ground-breaking women's theatre collective in the 1980s, the founder and first artistic director of Replay (1989-1996), Northern Ireland's longest established Educational Theatre Company. She currently lectures in drama at Queen's University Belfast where she is completing a Ph.D on the Northern Ireland dramatist George Shiels. She has recently contributed the critical introduction to the 25th anniversary publication of Charabanc's first play, Lay Up Your Ends.

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Publicado

2010-11-17

Edição

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