Carlin, Norman F.; Gladstein, David S. (1989). "The 'Bouncer' Defense of Odontomachus ruginodis and Other Odontomachine Ants (Hymenoptera: Formicidae)". Psyche. 96 (1–2): 1–19. doi: 10.1155/1989/96595. Eikenaar, Hein (8 February 2019). " 'Een horecaportier mag niet slaan, dat is mishandeling' ". Brabants Dagblad (in Dutch) . Retrieved 15 November 2023. Bouncers was written by John Godber, an English dramatist known for his observational comedies. He has written for the TV series Brookside and Grange Hill. His plays have been performed worldwide, with Bouncers, which he wrote in 1977, been his most popular.

In early Nazi Germany, some bouncers in underground jazz clubs were also hired to screen for Nazi spies, because jazz was considered a "degenerate" form of music by the Nazi party. [23] Later during the Nazi regime, bouncers also increasingly barred non-German people (such as foreign workers) from public functions, such as 'German' dances at dance halls. [24] The door supervisor from the Ohio-Bar in Berlin in 1948 Ivan Holiday Arsenault – The Bouncer's Bible, Turner Paige Publishing, 15 January 1999, ISBN 1-929036-00-0 As already stated very few props are used in the show because much of the action is mimed or sound is used to illustrate what is taking place on stage. Apart from the chairs, and the DJ’s microphone the only other The verdict? Godber knows how to stage his own work. It’s a dynamic production, filled with blink-and-you’ll-miss-it physical comedy. Graham Kirk’s set is a brilliant aid to the story telling. The simple use of lights and railings to create space and character is impeccable; a perfect match of designer and director. The hall was small and compact with a simple stage and rows of seats that were placed one behind another rather than in levels. The racy 90s dance music that blared from the speakers gave the audience a taster of what they would expect.

Contextualising the Play

a b Hatzitolios, Chloe (9 May 2016). "Could a 'Consent Captain' be the solution to sexual assault in bars?: The superhero we wish we didn't need, but are sure glad to have". www.theloop.ca. The Loop. Archived from the original on 6 March 2019 . Retrieved 2 March 2019. This cookie is used by Issuu analytic system to gather information regarding visitor activity on Issuu products.

a b "Nightclub Bouncers Tell All – Tales from behind the velvet rope". The Boston Phoenix. Archived from the original on 10 February 2008 . Retrieved 2 February 2008– via BostonNightclubNews.com. Eric also plays various other parts such as Maureen, a patron of the club and a friend of Rosie, Elaine, and Suzy. As Maureen he describes himself as fat but cuddly. All four girls carry white handbags to the club.Gunfight at bar leaves one wounded, another in custody", New Hampshire Union Leader, 15 April 2007, archived from the original on 26 September 2007 , retrieved 12 May 2007 In the 1990s and 2000s, increased awareness of the risks of lawsuits and criminal charges have led many bars and venues to train their bouncers to use communication and conflict resolution skills before, or rather than, resorting to brute force against troublemakers. However, the earlier history of the occupation suggests that the stereotype of bouncers as rough, tough, physical enforcers has indeed been the case in many countries and cultures throughout history. Historical references also suggest that the 'door supervisor' function of guarding a place and selecting who can have entry to it (the stereotypical task of the modern bouncer) could at times be an honorific and evolve into a relatively important position. Director Miriam Mussa (with extremely able assistance from cast member and movement director Zain Salim) wrings gallons of energy and inventiveness from the four actors, who sing, dance, bump, grind, mince and wrestle their way through two hours plus of showtime. Baton and Handcuff course". secta.com.au. Archived from the original on 13 December 2007 . Retrieved 2 February 2008. Bouncers also often come into conflict with football hooligans, due to the tendency of groups of hooligans to congregate at pubs and bars before and after games. In the United Kingdom for example, long-running series of feuds between fan groups like The Blades and groups of bouncers in the 1990s were described by researchers. [25]

Judd plays other parts such as the chatty hairdresser, Cheryl, a psychopathic barber, Elaine a patron of the club and a friend of Maureen, Suzy, and Rosie. She describes herself as plain, a bit of a loser, but handy in a fight. Judd also become Terry who is one of the lads on a night out at the club along with mates Baz, Kev, and Jerry. Penglase, Charles (1997). Greek Myths and Mesopotamia: Parallels and Influence in the Homeric Hymns and Hesiod. Psychology Press. p.27. ISBN 9780415157063 . Retrieved 8 May 2014. Lest anyone is still unaware of the plot (if that’s the right word) of Bouncers, four contrasting characters are manning the door at the Northern club. The play takes us through maybe seven hours in 100 minutes of stage time. A lot happens, but nothing really out of the ordinary. Meanwhile, various groups prepare for their night out, then descend upon the club, get drunk, have minor disasters, spend crazy amounts and end up unsure whether they’ve really had the night of their lives. The bouncing culture's insular attitudes also extended to the recruitment process, which was mainly by word of mouth as opposed to typical job recruitment, and also depended heavily on previous familiarity with violence. This does not extend to the prospective bouncer himself having to have a reputation for violence—rather a perception was needed that he could deal with it if required. Various other elements, such as body language or physical looks (muscles, shaved heads) were also described as often expected for entry into bouncing—being part of the symbolic 'narratives of intimidation' that set bouncers apart in their work environment. [30]

A look back at 2023 with the New Vic’s Dementia and Creativity Group

In the Weimar Republic in the Germany of the 1920s and early 1930s, doormen protected venues from the fights caused by Nazis and other potentially violent groups (such as Communists). Such scenes were fictionalised in the movie Cabaret. Hitler surrounded himself with a number of former bouncers such as Christian Weber; [21] the SS originated as a group designated to protect party meetings. [22] The impression that I got from the audiences respond to the play was very positive and contributed to the performance. The audience did this by laughing at the jokes, which gives the actors more confidence and lifts up the mood in the theatre. The actors were very aware of the audience in both senses since the audience laughed and sighed at certain pieces of the play so the actors definitely aware of the audience. As a member of the audience I emphasised with the characters and felt emotionally involved. I think this effect was made by talking directly to the audience through Eric’s speeches, using many other drama techniques including slow motion and breaking the fourth wall. Within Buddhist lore, the Nio, the twin guardian statues who decorate the entrances of temples, dojos, and various places related with religious importance, are believed to be the embodiment of wrathful deity bodhisattvas such as Vajrapani, Mahasthamaprapta, Vajrasattva, Acala, or various figures within Buddhist legend who accompanied Gautama Buddha during his journeys to spread his teachings to protect him and aid in cases needing justified force. Bessman’s scene by scene reinvention of Godber’s extraordinary play-without-a-plot still draws all its appeal from the skill of a tightly knit four-piece ensemble cast, and their ability to switch in an instant from playing the door supervising bouncers of the title to a host of other characters. The difference here is that it’s not just the versatility of their acting that’s on show. These guys have got some serious moves, and the sheer physicality of their performance lifts the show to another level.

Snake-room (logging) (from Logger's Words of Yesteryears – Sorden, L.G.; Isabel J. Ebert; Madison, 1956". Archived from the original on 29 September 2007 – via wisconsinhistory.net. During the late 19th and early 20th centuries, US saloon-keepers and brothel madams hired bouncers to remove troublesome, violent, or dead-drunk patrons, and to protect the saloon girls and prostitutes. The word "bouncer" was first popularized in a novel by Horatio Alger, called The Young Outlaw, which was first published in 1875. Alger was an immensely popular author in the 19th century, especially with young people and his books were widely quoted. In Chapter XIV, entitled "Bounced", a boy is thrown out of a restaurant because he has no money to pay for his meal: Robin Barratt – Respect and Reputation – On The Doors, in Prison and in Life, Apex Publishing, June 2010, ISBN 978-1-906358-81-5 In the early 1990s, an Australian government study on violence stated that violent incidents in public drinking locations are caused by the interaction of five factors: aggressive and unreasonable bouncers, groups of male strangers, low comfort (e.g., unventilated, hot clubs), high boredom, and high drunkenness. The research indicated that bouncers did not play as large a role "...as expected in the creation of an aggressive or violence prone atmosphere [in bars]." However, the study did show that "...edgy and aggressive bouncers, especially when they are arbitrary or petty in their manner, do have an adverse effect." The study stated that bouncers: A cookie set by YouTube to measure bandwidth that determines whether the user gets the new or old player interface.

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Ivan Holiday Arsenault – The Cooler's Grimiore, Outskirt Press Publishing, 6 July 2008, ISBN 1-4327-2641-2 Hill, Peter B. E. (26 January 2006). The Japanese Mafia: Yakuza, Law, and the State. OUP Oxford. pp.23, 285. ISBN 9780199291618 . Retrieved 8 May 2014. John Godber was born the son of a miner in Upton, West Yorkshire in 1956. He became a very successful playwright with popular plays such as ‘On the Piste’ and ‘Up n’ Under’ and TV shows like Grange Hill and Brookside. He is known most for his comedy but he has shown in a number of his productions that he includes seriousness alongside comedy for optimum effect. His plays are performed all over the world and have won many awards including five at the Edinburgh fringe festival. However, for some, Bouncer’s is regarded as Godber’s finest work. The inspiration of which came from a club called Kiko’s in Pontefract- it had the added bonus of having fake palm trees on the dance floor! Time for dancing, drinking and the search for true love. The club’s getting hot but out in the cold the Bouncers are ready for anything. During the 1890s, San Diego had a similarly rough waterfront area and red-light district called the ' Stingaree', where bouncers worked the door at brothels. Prostitutes worked at the area's 120 bawdy houses in small rooms, paying a fee to the procurer who usually was the bouncer or 'protector' of the brothel. The more expensive, higher-class brothels were called "parlour houses", and they were "run most decorously", and the "best of food and drink was served." To maintain the high-class atmosphere at these establishments, male patrons were expected to act like gentlemen; "...if any customer did or said anything out of line, he was asked to leave. A bouncer made sure he did". [18] 20th century [ edit ]