Relevant bibliographies by topics / Backstage talk

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  1. Journal articles
  2. Dissertations / Theses
  3. Book chapters

Academic literature on the topic 'Backstage talk'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Backstage talk"

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Holliday, Polly. "Theological Table-Talk Impressions from Backstage." Theology Today 46, no. 1 (April 1989): 48–54. http://dx.doi.org/10.1177/004057368904600108.

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“There is something going on in theatre—the acting and watching of a play—that is like something else that we know. … When God spoke, the world came into being. It was beautiful—a beautiful stage. God decided to tell a wonderful story. When man and woman entered, time began, and the play started.”
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Matwick, Keri, and Kelsi Matwick. "Bloopers and backstage talk on TV cooking shows." Text & Talk 40, no. 1 (January 28, 2020): 49–74. http://dx.doi.org/10.1515/text-2019-2052.

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AbstractTelevision instructional cooking shows provide a platform for discussion around the performance of self, with bloopers and backstage scenes revealing the best qualities of the celebrity chef’s personality despite the risk of face loss. Bloopers are short clips of mistakes that are typically removed from the media narrative. Often embarrassing and humorous, bloopers are moments when the celebrity chef’s performance is flawed with cooking errors or misspoken words. Drawing on Goffman’s concepts of ‘backstage’ and ‘frontstage,’ this paper analyzes bloopers on five American instructional cooking shows: The French Chef with Julia Child, considered one of the first celebrity chefs on television, and four contemporary how-to cooking shows from Food Network. These shows present cases of bloopers that occur in live and edited scenes, during the cooking demonstration, and pre- and post-filming. While a form of backstage discourse, bloopers support frontstage performance by heightening the celebrity chef’s unique attributes. Bloopers provide an outlet for play on frontstage as well.
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Robinson, Laura, and Jeremy Schulz. "Eliciting Frontstage and Backstage Talk with the Iterated Questioning Approach." Sociological Methodology 46, no. 1 (July 7, 2016): 53–83. http://dx.doi.org/10.1177/0081175016632804.

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McKinnon, Sean. "“Building a thick skin for each other”." Journal of Language and Sexuality 6, no. 1 (June 17, 2017): 90–127. http://dx.doi.org/10.1075/jls.6.1.04mck.

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Abstract Although queer linguistics has long acknowledged the playful use of potentially impolite utterances by LGBT people to build in-group solidarity these practices have not been analyzed from a sociopragmatic approach, nor have they been mentioned in the general pragmatics literature. Responding to these two gaps, the present study examines the functional use of the interactional practice ‘reading’ in the backstage talk of four drag queen performers. By employing a mock impoliteness analytical framework (Haugh & Bousfield 2012) this study shows how these utterances, which could potentially be evaluated as genuine impoliteness outside of the appropriate context, are positively evaluated by in-group members who recognize the importance of “building a thick skin” to face a hostile environment from LGBT and non-LGBT people. This study also seeks to draw attention to the use of backstage talk, and supplemental interview data, to uncover drag queen cultural practices through language use.
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Sterba, Christopher M. "“I Ought to Know How Negroes Talk”." California History 96, no. 3 (2019): 48–76. http://dx.doi.org/10.1525/ch.2019.96.3.48.

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The African American actor, writer, and director Spencer Williams, Jr. (1895–1969) has been the subject of a range of academic studies in recent years. Scholars have explored his pioneering work in early black film and his problematic role as “Andy Hogg Brown” in the television version of the Amos 'n' Andy radio program as a means of interpreting representations of black life within the confines of the Hollywood culture industry. This new scholarship, however, has reflected a limited and often inaccurate understanding of Williams' remarkable career. As will be discussed in this article, major events in Williams' life that have been unknown until now strongly influenced his filmmaking and his strategies to make the movie and television industries more racially inclusive. Most significantly, Williams was at different times a soldier in a segregated army unit, a convicted felon, and a committed artist and activist in Hollywood. These experiences helped to shape the themes and subject matter of his films, which ranged from religious dramas and singing cowboy westerns to backstage musicals and the first African American horror movie ever made.
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Brown, Laura C. "A public backstage: The pleasures and possibilities of roadside shop talk in Tamil Nadu, India." Language & Communication 34 (January 2014): 35–45. http://dx.doi.org/10.1016/j.langcom.2013.08.003.

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Sausdal, David. "Police Bullshit." Journal of Extreme Anthropology 4, no. 1 (March 23, 2020): 94–115. http://dx.doi.org/10.5617/jea.7360.

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The police say brutal things. Research has documented how officers, when amongst themselves, talk about people in derogatory ways or openly fantasize about the use of excessive violence. In the literature, such backstage talk is in general analyzed in two ways: It is understood as proof of how the police really think – as evidencing police (im)morality or misconduct. Alternatively, scholars argue that police officers’ transgressive talk is a warped yet nevertheless meaning-generating way for them to deal with their, at times, harsh profession. Certainly, perspectives resonate with the empirical material of this article – an empirical material stemming from an ethnographic study of two Danish detective units. Yet, as this article argues, simply applying this analytical twofold would risk misrepresenting or, perhaps rather, overinterpreting the indeed brutal things the Danish detectives said. While some of the detectives’ language could/should be understood as representing police immorality or reflecting their troublesome profession, this article proposes a counterintuitive reading, namely that their vicious words were, paradoxically, often analytically ordinary. They were examples of “bullshitting” (Frankfurt 2009) – a genre of offensive talk yet, nevertheless, a genre with no specific internal nor intended meaning to it. Therefore, although (police and others’) bullshit is extremely evocative, and thus includes the risk of drawing the ethnographer in, one should be cautious about taking it too seriously. At least when it came to these Danish detectives, their vicious words habitually had little purchase on their general perceptions or practices. Their words were certainly distasteful but, really, just bullshit.
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Eriksson, Göran, and Richard Fitzgerald. "Web-TV as a backstage activity: Emerging forms of audience address in the post-broadcast era." Text & Talk 39, no. 1 (December 19, 2018): 47–75. http://dx.doi.org/10.1515/text-2018-2018.

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Abstract Taking off from the Media Talk approach, this paper examines the communicative work of a Swedish sports webcast football show, Superlive, as an emerging form of web-based media format called Web-TV. This analysis is situated in a context in which broadcasting is going through fundamental changes, and broadcasters are rethinking their content in order to face the challenges arriving with recent decades’ technological developments, and especially the fact that television is no longer restricted to being broadcast but can be distributed through the web and be received on PCs, tablets and mobile phones. In this ‘post-broadcasting era’ producers are searching for new ways of reaching audiences through creating new forms of audience address. Superlive is a good example of these changes and how broadcasters now explore the possibilities of producing television exclusively for the Web. The analysis shows that what is taking place in Superlive is clearly in contrast to the performances one could expect in the conventional broadcast. Through the participants’ favoring of an interactional style characterized by informality and spontaneity, this show situates itself as backstage to the conventional forms of airings. As a result, this discursive space implies an interactional orientation to “co-presence” with the audience.
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Szolowicz, Michael A. "Putting political spectacle to work: Understanding local resistance to the Common Core." education policy analysis archives 24 (November 7, 2016): 114. http://dx.doi.org/10.14507/epaa.24.2521.

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In the fall of 2013, a parents’ group formed to protest the new Common Core based mathematics textbook recently adopted by their school district. Quickly allying with teachers, the new coalition began to, “hammer,” the district to drop the Common Core and return to more traditional texts and pedagogies. They did so by speaking at Governing Board meetings, participating in interviews with local newspapers, appearing on a local radio talk show, and forming social media accounts. This intrinsically motivated case study uses qualitative media analysis to examine the texts produced from these and other public declarations to better understand local policy formation through the mechanics of “political spectacle.” Political spectacle theory suggests that policy may be formed through dramatic public displays and that policy formed from such spectacles often undemocratically reinforces existing inequalities. The study analyzes the parent, teacher and administration policy actors’ use of political spectacle elements such as symbolic language, construction of problems, casting of enemies and allies and distinctions between onstage and backstage drama to understand the adoption, challenge and ultimate rejection of a Common Core based mathematics text in a mid-sized southwestern United States School district.
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Milling, Jane. "“FOR WITHOUT VANITY, I'M BETTER KNOWN”: RESTORATION ACTORS AND METATHEATRE ON THE LONDON STAGE." Theatre Survey 52, no. 1 (May 2011): 59–82. http://dx.doi.org/10.1017/s0040557411000068.

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When Samuel Pepys heard Nell Gwyn and Elizabeth Knipp deliver the prologue to Robert Howard'sThe Duke of Lerma, he recorded the experience in his diary: “Knepp and Nell spoke the prologue most excellently, especially Knepp, who spoke beyond any creature I ever heard.” By 20 February 1668, when Pepys noted his thoughts, he had known Knipp personally for two years, much to the chagrin of his wife. He had met Knipp backstage and in the audience of the two playhouses. He knew her family and they shared a social circle; he had sung with her in domestic and social settings. Pepys had had much experience of Elizabeth Knipp's quotidian language and conversational mode of speech. The prologue, which offered the not-yet-in-role Nell Gwyn and the costumed Mrs. Knipp preparing for the play, begins in prose before breaking into bouncing rhyme to end more conventionally. Mrs. Knipp might seem to appear here as herself, yet Pepys eulogizes Knipp's speaking of the prologue as a theatrical experience. He does not compare her onstage performance of apparently natural speech to quotidian conversation nor does he talk of her acting. Rather, he judges it as an oratorical performance against other stage performances: she “spoke beyond any creature I ever heard.” This article explores what theperformanceof the prologues and epilogues in the newly established duopoly of Restoration London theatres can reveal about how performers were known and represented, and what they tell us about the increasing individuation of those performers and the implications of this for acting and acting style.
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Dissertations / Theses on the topic "Backstage talk"

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Booth, Judith, and edu au jillj@deakin edu au mikewood@deakin edu au kimg@deakin. "A critique of "cultural fit" in relation to the recruitment of Indian Information Technologists for the Y2K project in Australia." Deakin University. School of Communication & Creative Arts, 2002. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20040617.142627.

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In this study of intercultural communication, I investigate the multi-faceted meaning of the expression " cultural fit " in the sense that it is used by recruiters when shortlisting Indian information technologists to fill skills shortages for the Y2K project in Australia. The data is in the form of ten videotaped interviews in Bangalore and the recruiter commentary on those tapes in Melbourne. A crucial decision to be made by recruiters in any shortlisting process is " How will the candidate fit into the workplace?" This question becomes more problematical when applied to overseas-trained professionals. I take a critical approach, drawing principally on the research traditions of linguistics where studies of intercultural communication and workplace interaction intersect, employing chiefly the tools of Critical Discourse Analysis and Interactional Sociolinguistics and the more abstract notions of Bourdieu. A bridge between these different discourse approaches is provided by Sarangi & Roberts < 1999 < who show the connection between the larger institutional order and interactional routines, through an elaboration of frontstage talk and backstage talk following Goffman < 1959 < . An analysis of the interviews < frontstage talk < reveals "cultural fit" to involve a knowledge of institutional talk, in particular, directness. The recruiter commentary < backstage talk < draws attention to issues of intelligibility, body language, technical expertise and workplace values. the study shows that Indian Information Technologists have "partial fit" in that they possess technical fit but do not demonstrate, or lack the opportunity to demonstrate in the interview, Australian workplace values such as small talk, humour and informality. The recruiter judgments were fleeting and apart from checking for intelligibility, were made on the basis of candidates' body language thus highlighting its importance and its relative absence from the discourse approaches mentioned above. This study shows clearly that there is room for more communicative flexibility on the part of all the stakeholders.
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Book chapters on the topic "Backstage talk"

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Coates, Jennifer. "Women Behaving Badly: Female Speakers Backstage [2000]." In Women, Men and Everyday Talk, 102–23. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137314949_6.

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Coates, Jennifer. "Small talk and subversion: female speakers backstage 1." In Small Talk, 241–63. Routledge, 2014. http://dx.doi.org/10.4324/9781315838328-13.

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Vagli, Ảse. "The Social Organisation of Legitimate Risk Assessments in Child Protection: A Study of Backstage Talk and Interaction in A Local Child Protection Agency in Norway 1." In Listening to the Welfare State, 77–99. Routledge, 2017. http://dx.doi.org/10.4324/9781315250472-6.

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You might also be interested in the extended bibliographies on the topic 'Backstage talk' for particular source types:
Journal articles
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