Passionate Amateurs

218 Pages·2013·2.36 MB·English

by  Nicholas Ridout

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Passionate amateurs

Passionate Amateurs
theatre, Communism, and Love
Nicholas Ridout
the university of miChigan Press
Ann Arbor
Copyright © by the University of Michigan 2013
All rights reserved
This book may not be reproduced, in whole or in part, including illustrations, in
any form (beyond that copying permitted by Sections 107 and 108 of the U.S.
Copyright Law and except by reviewers for the public press), without written per-
mission from the publisher.
Published in the United States of America by
The University of Michigan Press
Manufactured in the United States of America
c Printed on acid- free paper
2016 2015 2014 2013  4 3 2 1
A CIP catalog record for this book is available from the British Library.
Library of Congress Cataloging- in- Publication Data
Ridout, Nicholas Peter.
Passionate amateurs : theatre, communism, and love / Nicholas Ridout.
pages cm. — (Theater— theory/text/performance)
Includes bibliographical references and index.
ISBN 978- 0- 472- 11907- 3 (cloth : alk. paper) — ISBN 978- 0- 472- 02959- 4
(e- book)
1. Theater and society. 2. Communism and culture. I. Title.
PN2051.R53  2013
792—dc23
2013015596
For Isabel and Peter, my parents

Acknowledgments
Throughout the writing of this book I was fortunate to work in the De-
partment of Drama at Queen Mary University of London. Colleagues and
students alike made the department a truly stimulating and supportive
place to be, to work, and to think. I am grateful to them all. I owe particu-
lar thanks, for conversations that contributed in tangible ways to the de-
velopment of this work, to Bridget Escolme, Jen Harvie, Michael McKin-
nie, Lois Weaver, and Martin Welton. A sabbatical in the academic year
2010– 11 made its realization possible.
During that sabbatical I was exceptionally fortunate to spend a year in
the Department of Theatre Arts and Performance Studies at Brown Uni-
versity. For their hospitality and intellectual partnership in this, my sec-
ond professional home, I will always be especially grateful to Michelle
Carriger, Jim Dennen, John Emigh, Lindsay Goss, Hunter Hargraves, Io-
ana Jucan, Patrick McKelvey, Coleman Nye, Paige Sarlin, Rebecca Schnei-
der, Eleanor Skimin, Andrew Starner, Hans Vermy, Anna Watkins Fisher,
and Patricia Ybarra.
I have also been fortunate to enjoy a range of opportunities to present
parts of this work, in progress, at Quorum (the Drama Department re-
search seminar at Queen Mary), the London Theatre Seminar, the An-
drew Mellon School of Theatre and Performance at Harvard University,
CalArts, and the University of Kent, as well as at conferences including
Performance Studies international (PSi) in Copenhagen (2008), PSi in
Utrecht (2010), and the American Society for Theatre Research in Nash-
ville (2012), and I am grateful to the organizers of all these events for the
opportunities for conversation that these occasions afforded.
At such events and on numerous other occasions I have enjoyed con-
versations and other theatrical experiences with many people, related ei-
ther directly or indirectly to my work on this book. Among them I espe-
cially want to thank Una Bauer, Claudia Castellucci, Romeo Castellucci,
Kate Elswit, Chris Goode, James Harding, Wendy Hubbard, Shannon
Jackson, Miranda Joseph, Eirini Kartsaki, Jen Mitas, Sophie Nield, Louise
viii acknowledgments
Owen, Jim Peck, Paul Rae, Alan Read, Janelle Reinelt, Theron Schmidt,
Shelley Trower, and Simon Vincenzi.
At the University of Michigan Press, LeAnn Fields is an editor with
whom conversation has been a source of inspiration and assurance
throughout. I am grateful, also, to her assistant, Alexa Ducsay, for her
support through the production process. The series editors, David Kras-
ner and Rebecca Schneider (again), have been supportive and critical
friends throughout. I am grateful, too, to anonymous readers for the press
for their comments on the manuscript and to Sarah Thomasson for in-
valuable support in its preparation.
From the beginning, Rebecca Schneider (again, again) has been a con-
stant friend and incomparable intellectual partner, in London, Provi-
dence, and places in between. Joe Kelleher enriches my experiences of
theatre, thought, and social life, always. Giulia Palladini has been a com-
rade in this project, in thought, on song, and in a little shared resistance to
productivity.