Victorian Theatrical Trades
Author | : Michael R. Booth |
Publisher | : London : Society for Theatre Research |
Total Pages | : 76 |
Release | : 1981 |
Genre | : Art |
ISBN | : |
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Author | : Michael R. Booth |
Publisher | : London : Society for Theatre Research |
Total Pages | : 76 |
Release | : 1981 |
Genre | : Art |
ISBN | : |
Author | : Michael R. Booth |
Publisher | : Cambridge University Press |
Total Pages | : 244 |
Release | : 1991-07-26 |
Genre | : Drama |
ISBN | : 9780521348379 |
A comprehensive survey of the theatre practice and dramatic literature of the Victorian period.
Author | : Richard W. Schoch |
Publisher | : Cambridge University Press |
Total Pages | : 240 |
Release | : 1998-08-20 |
Genre | : Drama |
ISBN | : 9780521622813 |
This book explores the revivals of Shakespeare's history plays during the Victorian period, as staged by the famous actor-manager Charles Kean. Between 1852 and 1859, Kean produced celebrated productions of Henry V, Henry VIII, King John, Macbeth and Richard II, renowned for their unprecendented attention to antiquarian detail in sets, costumes, and properties (many of which are shown in the book's illustrations). These productions provided audiences with an unparalleled opportunity to participate in the Victorian obsession with history, especially of the medieval period. Using valuable primary sources, including promptbooks, scenic designs, costume sketches and contemporary reviews, Richard Schoch places mid-Victorian attitudes towards the theatre in the context of major intellectual and political movements of the age. The book will be of interest to scholars and students of theatre history, Shakespeare studies and Victorian culture.
Author | : John Mccormick |
Publisher | : University of Iowa Press |
Total Pages | : 301 |
Release | : 2004-04 |
Genre | : Art |
ISBN | : 1587295180 |
In this fascinating and colorful book, researcher and performer John McCormick focuses on the marionette world of Victorian Britain between its heyday after 1860 and its waning years from 1895 to 1914. Situating the rich and diverse puppet theatre in the context of entertainment culture, he explores both the aesthetics of these dancing dolls and their sociocultural significance in their life and time. The history of marionette performances is interwoven with live-actor performances and with the entire gamut of annual fairs, portable and permanent theatres, music halls, magic lantern shows, waxworks, panoramas, and sideshows. McCormick has drawn upon advertisements in the Era, an entertainment paper, between the 1860s and World War I, and articles in the World’s Fair, a paper for showpeople, in the first fifty years of the twentieth century, as well as interviews with descendants of the marionette showpeople and close examinations of many of the surviving puppets. McCormick begins his study with an exploration of the Victorian marionette theatre in the context of other theatrical events of the day, with proprietors and puppeteers, and with the venues where they performed. He further examines the marionette’s position as an actor not quite human but imitating humans closely enough to be considered empathetic; the ways that physical attributes were created with wood, paint, and cloth; and the dramas and melodramas that the dolls performed. A discussion of the trick figures and specialized acts that each company possessed, as well as an exploration of the theatre’s staging, lighting, and costuming, follows in later chapters. McCormick concludes with a description of the last days of marionette theatre in the wake of changing audience expectations and the increasing popularity of moving pictures. This highly enjoyable and readable study, often illuminated by intriguing anecdotes such as that of the Armenian photographer who fell in love with and abducted the Holden company’s Cinderella marionette in 1881, will appeal to everyone fascinated by the magic of nineteenth-century theatre, many of whom will discover how much the marionette could contribute to that magic.
Author | : Sara Hudston |
Publisher | : Methuen Drama |
Total Pages | : 460 |
Release | : 2000-05-11 |
Genre | : Drama |
ISBN | : |
This anthology traces the development of Victorian theatricals from private home events in the late-Georgian period to full-scale Gilbert and Sullivan operettas in 1890s.
Author | : |
Publisher | : |
Total Pages | : 0 |
Release | : |
Genre | : Theater programs |
ISBN | : |
Author | : Tracy C. Davis |
Publisher | : Cambridge University Press |
Total Pages | : 536 |
Release | : 2007-06-21 |
Genre | : Drama |
ISBN | : 9780521036856 |
A comprehensive study of economic theory in relation to the development of nineteenth-century British theatre.
Author | : Amy Lehman |
Publisher | : McFarland |
Total Pages | : 213 |
Release | : 2014-01-10 |
Genre | : Performing Arts |
ISBN | : 0786454717 |
Spiritualists in the nineteenth century spoke of the "Borderland," a shadowy threshold where the living communed with the dead, and where those in the material realm could receive comfort or advice from another world. The skilled performances of mostly female actors and performers made the "Borderland" a theatre, of sorts, in which dramas of revelation and recognition were produced in the forms of seances, trances, and spiritualist lectures. This book examines some of the most fascinating American and British actresses of the Victorian era, whose performances fairly mesmerized their audiences of amused skeptics and ardent believers. It also focuses on the transformative possibilities of the spiritualist theatre, revealing how the performances allowed Victorian women to speak, act, and create outside the boundaries of their restricted social and psychological roles.
Author | : Augustin Filon |
Publisher | : |
Total Pages | : 332 |
Release | : 1897 |
Genre | : Actors |
ISBN | : |
Author | : Michael R. Booth |
Publisher | : Routledge |
Total Pages | : 218 |
Release | : 2015-07-24 |
Genre | : Literary Criticism |
ISBN | : 1317389468 |
Originally published in 1981. This study concentrates on one aspect of Victorian theatre production in the second half of the nineteenth century – the spectacular, which came to dominate certain kinds of production during that period. A remarkably consistent style, it was used for a variety of dramatic forms, although surrounded by critical controversy. The book considers the theories and practice of spectacle production as well as the cultural and artistic movements that created the favourable conditions in which spectacle could dominate such large areas of theatre for so many years. It also discusses the growth of spectacle and the taste of the public for it, examining the influence of painting, archaeology, history, and the trend towards realism in stage production. An explanation of the working of spectacle in Shakespeare, pantomime and melodrama is followed by detailed reconstructions of the spectacle productions of Irving’s Faust and Beerbohm Tree’s King Henry VIII.