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Sounds of the MetropolisThe 19th Century Popular Music Revolution in London, New York, Paris and Vienna$
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Derek B. Scott

Print publication date: 2008

Print ISBN-13: 9780195309461

Published to Oxford Scholarship Online: September 2008

DOI: 10.1093/acprof:oso/9780195309461.001.0001

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The Music Hall Cockney

The Music Hall Cockney

Flesh and Blood, or Replicant?

(p.171) 7 The Music Hall Cockney
Sounds of the Metropolis

Derek B. Scott

Oxford University Press

This chapter argues that from the 1840s to the 1890s the representation of the Cockney in music hall went through three successive phases. It began as a parody of working-class life; then it turned into a more complex stage type played by character actors. It ended, finally, with a confusion of the real and imaginary in which the performer was seen as a “real” Cockney and no longer acting. Once this final phase had been reached, however, performers began to derive their stage representation no longer from the flesh and blood Cockney but by replicating already existing representations.

Keywords:   champagne, dandy, parody, real, simulacra, simulacrum

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