y separately published work icon Louis XI single work   drama   sketch (theatrical)   humour  
Alternative title: Shell Shock
Issue Details: First known date: 1925... 1925 Louis XI
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Publication Details of Only Known VersionEarliest 2 Known Versions of

      1925 .
      Description: Typescript
      (Manuscript) assertion

      Holdings

      Held at: National Archives of Australia National Archives Library
      Local Id: A1336 14222
      Note:
      Copyright registration applied for by George Patrick Hanna on 28 September 1925 (work enclosed). Application unregistered on 8 October 1925.
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Works about this Work

Script of Louis XI Pat Hanna , Richard Fotheringham , 2016 single work
— Appears in: Queensland Review , vol. 23 no. 2 2016; (p. 143-150) 'The script of Louis XI used as the basis for this edition is the only known surviving version, a typescript on lined foolscap held in the National Archives of Australia, Canberra, in the Copyright Applications Series CRS A1336/1 item 14,222. It appears to have been typed from an earlier script that has not survived — probably a much-amended manuscript given numerous transcription errors, and was not subsequently corrected. As a consequence, it retains traces of that earlier version. Its title, typed in caps at the top of each page, is ‘SHELL SHOCK’, but on the first page this has been crossed through and ‘Louis XI’ written in heavy black ink, followed by ‘written and produced by GP Hanna at Cremorne Theatre Brisbane/1924’.' (Introduction)
The Great War and Popular Modernism : Pat Hanna's Louis XI Richard Fotheringham , 2016 single work criticism
— Appears in: Queensland Review , vol. 23 no. 2 2016; (p. 133-142) 'Pat Hanna's Famous Diggers, a professional vaudeville theatre troupe comprising ex-Great War Anzac soldiers (initially, mainly New Zealanders, as Hanna was himself) played for nearly two years (1923–24) at the old Cremorne Theatre in Brisbane. One item Hanna premiered at the Cremorne was Louis XI, a short (ten-minute) comic sketch he wrote himself. Modernism in the inter-war years, given its usual location within avant-garde aesthetics, high culture, internationalism and radical politics, is not — with the notable exception of Brecht's cabaret work in the 1920s — usually associated with popular theatre. While one comic playlet hardly challenges that positioning, Louis XI was a direct result of the Great War's profound reshaping of modern life. Many of the dramatised sketches performed by Hanna's company, including Louis XI, were structured around a contrast between events as they had occurred in the trenches and as they were portrayed in a utopian or dystopian fantasy, sometimes triggered by shell shock or a dream. Several, again including Louis XI, involve the past, and express the curiosity and cultural dislocation Australian- and New Zealand-born soldiers felt as they moved for the first time through real-life landscapes and architecture they had known only from popular history and romance.' (Introduction)
The Great War and Popular Modernism : Pat Hanna's Louis XI Richard Fotheringham , 2016 single work criticism
— Appears in: Queensland Review , vol. 23 no. 2 2016; (p. 133-142) 'Pat Hanna's Famous Diggers, a professional vaudeville theatre troupe comprising ex-Great War Anzac soldiers (initially, mainly New Zealanders, as Hanna was himself) played for nearly two years (1923–24) at the old Cremorne Theatre in Brisbane. One item Hanna premiered at the Cremorne was Louis XI, a short (ten-minute) comic sketch he wrote himself. Modernism in the inter-war years, given its usual location within avant-garde aesthetics, high culture, internationalism and radical politics, is not — with the notable exception of Brecht's cabaret work in the 1920s — usually associated with popular theatre. While one comic playlet hardly challenges that positioning, Louis XI was a direct result of the Great War's profound reshaping of modern life. Many of the dramatised sketches performed by Hanna's company, including Louis XI, were structured around a contrast between events as they had occurred in the trenches and as they were portrayed in a utopian or dystopian fantasy, sometimes triggered by shell shock or a dream. Several, again including Louis XI, involve the past, and express the curiosity and cultural dislocation Australian- and New Zealand-born soldiers felt as they moved for the first time through real-life landscapes and architecture they had known only from popular history and romance.' (Introduction)
Script of Louis XI Pat Hanna , Richard Fotheringham , 2016 single work
— Appears in: Queensland Review , vol. 23 no. 2 2016; (p. 143-150) 'The script of Louis XI used as the basis for this edition is the only known surviving version, a typescript on lined foolscap held in the National Archives of Australia, Canberra, in the Copyright Applications Series CRS A1336/1 item 14,222. It appears to have been typed from an earlier script that has not survived — probably a much-amended manuscript given numerous transcription errors, and was not subsequently corrected. As a consequence, it retains traces of that earlier version. Its title, typed in caps at the top of each page, is ‘SHELL SHOCK’, but on the first page this has been crossed through and ‘Louis XI’ written in heavy black ink, followed by ‘written and produced by GP Hanna at Cremorne Theatre Brisbane/1924’.' (Introduction)
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Last amended 15 Oct 2013 10:26:05
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