Advertisement

Making Time for Amateur Theatre: Work, Labour and Free Time

  • Helen Nicholson
  • Nadine Holdsworth
  • Jane Milling
Chapter

Abstract

There is a deep relationship between the patterns of working life and amateur theatre. This chapter argues that divisions between labour and leisure are often complexly configured in amateur theatre, and binaries between paid and unpaid labour, and professional and amateur identities are increasingly porous, suggesting that temporal distinctions between work and ‘free time’ demand attention. It examines the role of amateur theatre in the workplace, and using the example of Imperial Chemical Industries in Welwyn, demonstrates how amateur theatre supported by factories created life-long interest in theatre-making. The chapter takes the case study of the British Airways Cabin Crew Entertainment Society to examine the ways in which theatre-making reflects the cast’s working lives as flight attendants, and to raise broader questions about how twenty-first patterns of labour are shaping practices in amateur theatre.

Keywords

Labour Leisure Free time Craft Work-life balance 

References

  1. Adamson, Glenn. 2007. Thinking Through Craft. London: Berg Publishers.CrossRefGoogle Scholar
  2. Adorno, T.W. 1991. Free Time. In The Culture Industry: Selected Essays on Mass Culture, ed. The Culture, 162–170. London: Routledge [1969].Google Scholar
  3. Arendt, Hannah. 1989. The Human Condition. Chicago/London: The University of Chicago Press [1958].Google Scholar
  4. Bauman, Zigmunt. 2003. Liquid Love: On the Frailty of Human Bonds. Cambridge: Polity Press.Google Scholar
  5. ———. 2005. Liquid Life. Cambridge: Polity Press.Google Scholar
  6. Cocoa Works Magazine. 1935. York: Rowntree.Google Scholar
  7. Gregg, Melissa. 2011. Work’s Intimacy. London: Polity Press.Google Scholar
  8. Hawley, Judith. 2012. What Signifies a Theatre?’: Private Theatricals and Amateur Dramatics in Britain and Abroad. Conference Paper, University of Notre Dame in London, July 7.Google Scholar
  9. Hochschild, Arlie Russell. 2002. The Managed Heart: Commercialization of Human Feeling. Berkeley: University of California Press.Google Scholar
  10. Hoggart, Richard. 1976. The Uses of Literacy. London: Pelican Books [1957].Google Scholar
  11. Hughes, Jenny. 2016. A Pre-history of Applied Theatre: Work, House, Perform. In Critical Perspectives on Applied Theatre, ed. Jenny Hughes and Helen Nicholson, 40–60. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
  12. Knott, Stephen. 2015. Amateur Craft: History and Theory. London: Bloomsbury.CrossRefGoogle Scholar
  13. Marx, Karl. 2007. Capital: A Critique of Political Economy: The Process of Capitalist Production, Volume 1 Part 11. New York: Cosimo Classics [1867].Google Scholar
  14. Ridout, Nicholas. 2013. Passionate Amateurs: Theatre, Communism, and Love. Ann Arbor: University of Michigan Press.Google Scholar
  15. Rose, Jonathan. 1986. The Edwardian Temperament 1895–1919. Ohio: Ohio University Press.Google Scholar
  16. Rowntree, Seebohm. 1901. Poverty: A Study of Town Life. London: Macmillan Publishers.Google Scholar
  17. Sennett, Richard. 1998. The Corrosion of Character: The Personal Consequences of Work in the New Capitalism. New York: Norton Books.Google Scholar
  18. ———. 2008. The Craftsman. London: Penguin Books.Google Scholar
  19. Sharma, Sarah. 2014. In the Meantime: Temporality and Cultural Politics. London: Duke University Press.CrossRefGoogle Scholar
  20. Stebbins, Robert A. 1979. Amateurs: On the Margin Between Work and Leisure. London: Sage.Google Scholar
  21. Thompson, E.P. 1967. Time, Work-Discipline and Industrial Capitalism. Past & Present 38: 56–97.CrossRefGoogle Scholar
  22. Walcon, Erin, and Helen Nicholson. 2017. The Sociable Aesthetics of Amateur Theatre. Contemporary Theatre Review 27 (1): 18–33.  https://doi.org/10.1080/10486801.2016.1262851.CrossRefGoogle Scholar
  23. Whiting, James, and Kevin Hannam. 2015. Creativity, Self-Expression and Leisure. Leisure Studies 34 (3): 372–384.CrossRefGoogle Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Helen Nicholson
    • 1
  • Nadine Holdsworth
    • 2
  • Jane Milling
    • 3
  1. 1.Department of Drama, Theatre and DanceRoyal Holloway, University of LondonEghamUK
  2. 2.School of Theatre and Performance StudiesUniversity of WarwickCoventryUK
  3. 3.Department of DramaUniversity of ExeterExeterUK

Personalised recommendations