The Britannia Panopticon Music Hall and Cosmopolitan by Paul Maloney

By Paul Maloney

Focusing on Glasgow’s earliest surviving track corridor, the Britannia, later the Panopticon, this e-book explores the function of 1 of the city’s such a lot iconic cultural venues in the cosmopolitan leisure industry that emerged in British towns within the 19th century. laying off mild at the expanding range of industrial leisure supplied by way of such venues – delivering every thing from track corridor, early cinema and beginner nights to waxworks, menageries and freak exhibits – this learn additionally encompasses the version of community-based, working-class tune corridor which characterized the Panopticon’s later years, not easy narratives of the primacy of urban centre variety.

Providing a finished research of this dynamic well known theatre of the economic age, Maloney examines the position of the hall’s managers, advertising and promotional concepts, audiences, and acting genres from the hall’s starting in 1859 till ultimate closure in 1938. The booklet additionally explores level representations of Irish and Jewish immigrant groups found in surrounding urban centre components, demonstrating the Britannia’s diasporic hyperlinks to different British towns and centres in North the US, hence supplying a multifaceted and pioneering account of this nonetheless extant Victorian tune hall.

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By Paul Maloney

Focusing on Glasgow’s earliest surviving track corridor, the Britannia, later the Panopticon, this e-book explores the function of 1 of the city’s such a lot iconic cultural venues in the cosmopolitan leisure industry that emerged in British towns within the 19th century. laying off mild at the expanding range of industrial leisure supplied by way of such venues – delivering every thing from track corridor, early cinema and beginner nights to waxworks, menageries and freak exhibits – this learn additionally encompasses the version of community-based, working-class tune corridor which characterized the Panopticon’s later years, not easy narratives of the primacy of urban centre variety.

Providing a finished research of this dynamic well known theatre of the economic age, Maloney examines the position of the hall’s managers, advertising and promotional concepts, audiences, and acting genres from the hall’s starting in 1859 till ultimate closure in 1938. The booklet additionally explores level representations of Irish and Jewish immigrant groups found in surrounding urban centre components, demonstrating the Britannia’s diasporic hyperlinks to different British towns and centres in North the US, hence supplying a multifaceted and pioneering account of this nonetheless extant Victorian tune hall.

Show description

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Additional resources for The Britannia Panopticon Music Hall and Cosmopolitan Entertainment Culture

Sample text

Public-minded architects similarly appreciated the importance of urban planning, and particularly of attitudes towards the control of public spaces, in diffusing social problems and class-based conflicts. 16 26 P. MALONEY In response, Glasgow’s architects developed: a new, deliberate and consciously thought-out visual iconography—a language of architecture which acted as a link between the prevailing socioeconomic and political thought and the physical environment. The function of art and architecture was to ‘build bridges’.

MALONEY himself was a well-known comedian from the late 1860s who crops up later in the Britannia narrative, and therefore arguably had an interest in propagating a flattering retrospective view of the sociability of these establishments. Aspects of the tavern culture would in any case have declined naturally due to social developments. For example, one of the reasons the taverns had remained so numerous—he numbers them at forty—was the area’s role as the hub of the coaching trade, which constantly delivered new customers but was bound to disappear with the coming of rail travel.

A contrast to these accounts is provided by a series of newspaper articles by James Anderson, published in 1888. 31 Two features emerge strikingly from Anderson’s rich and detailed accounts of what seems a very different world. The first is that many of the taverns described were small and domestic in scale and atmosphere. 18 Saltmarket, ‘kept by the widow of a sergeant’, consisted of ‘the little old-fashioned bar, the bar parlour, kitchen and large public room’. Reflecting the fact that proprietors lived in, premises were often comfortably furnished, and meticulously kept.

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