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Author: Marty Gould
Publisher: Routledge
ISBN: 1136740538
Category : Performing Arts
Languages : en
Pages : 290
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Book Description
In this study, Gould argues that it was in the imperial capital’s theatrical venues that the public was put into contact with the places and peoples of empire. Plays and similar forms of spectacle offered Victorian audiences the illusion of unmediated access to the imperial periphery; separated from the action by only the thin shadow of the proscenium arch, theatrical audiences observed cross-cultural contact in action. But without narrative direction of the sort found in novels and travelogues, theatregoers were left to their own interpretive devices, making imperial drama both a powerful and yet uncertain site for the transmission of official imperial ideologies. Nineteenth-century playwrights fed the public’s interest in Britain’s Empire by producing a wide variety of plays set in colonial locales: India, Australia, and—to a lesser extent—Africa. These plays recreated the battles that consolidated Britain’s hold on overseas territories, dramatically depicted western humanitarian intervention in indigenous cultural practices, celebrated images of imperial supremacy, and occasionally criticized the sexual and material excesses that accompanied the processes of empire-building. An active participant in the real-world drama of empire, the Victorian theatre produced popular images that reflected, interrogated, and reinforced imperial policy. Indeed, it was largely through plays and spectacles that the British public vicariously encountered the sights and sounds of the distant imperial periphery. Empire as it was seen on stage was empire as it was popularly known: the repetitions of character types, plot scenarios, and thematic concerns helped forge an idea of empire that, though largely imaginary, entertained, informed, and molded the theatre-going British public.
Author: Marty Gould
Publisher: Routledge
ISBN: 1136740538
Category : Performing Arts
Languages : en
Pages : 290
Get Book Here
Book Description
In this study, Gould argues that it was in the imperial capital’s theatrical venues that the public was put into contact with the places and peoples of empire. Plays and similar forms of spectacle offered Victorian audiences the illusion of unmediated access to the imperial periphery; separated from the action by only the thin shadow of the proscenium arch, theatrical audiences observed cross-cultural contact in action. But without narrative direction of the sort found in novels and travelogues, theatregoers were left to their own interpretive devices, making imperial drama both a powerful and yet uncertain site for the transmission of official imperial ideologies. Nineteenth-century playwrights fed the public’s interest in Britain’s Empire by producing a wide variety of plays set in colonial locales: India, Australia, and—to a lesser extent—Africa. These plays recreated the battles that consolidated Britain’s hold on overseas territories, dramatically depicted western humanitarian intervention in indigenous cultural practices, celebrated images of imperial supremacy, and occasionally criticized the sexual and material excesses that accompanied the processes of empire-building. An active participant in the real-world drama of empire, the Victorian theatre produced popular images that reflected, interrogated, and reinforced imperial policy. Indeed, it was largely through plays and spectacles that the British public vicariously encountered the sights and sounds of the distant imperial periphery. Empire as it was seen on stage was empire as it was popularly known: the repetitions of character types, plot scenarios, and thematic concerns helped forge an idea of empire that, though largely imaginary, entertained, informed, and molded the theatre-going British public.
Author: Marty Gould
Publisher: Routledge
ISBN: 1136740546
Category : Art
Languages : en
Pages : 266
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Book Description
In this study, Gould argues that it was in the imperial capital’s theatrical venues that the public was put into contact with the places and peoples of empire. Plays and similar forms of spectacle offered Victorian audiences the illusion of unmediated access to the imperial periphery; separated from the action by only the thin shadow of the proscenium arch, theatrical audiences observed cross-cultural contact in action. But without narrative direction of the sort found in novels and travelogues, theatregoers were left to their own interpretive devices, making imperial drama both a powerful and yet uncertain site for the transmission of official imperial ideologies. Nineteenth-century playwrights fed the public’s interest in Britain’s Empire by producing a wide variety of plays set in colonial locales: India, Australia, and—to a lesser extent—Africa. These plays recreated the battles that consolidated Britain’s hold on overseas territories, dramatically depicted western humanitarian intervention in indigenous cultural practices, celebrated images of imperial supremacy, and occasionally criticized the sexual and material excesses that accompanied the processes of empire-building. An active participant in the real-world drama of empire, the Victorian theatre produced popular images that reflected, interrogated, and reinforced imperial policy. Indeed, it was largely through plays and spectacles that the British public vicariously encountered the sights and sounds of the distant imperial periphery. Empire as it was seen on stage was empire as it was popularly known: the repetitions of character types, plot scenarios, and thematic concerns helped forge an idea of empire that, though largely imaginary, entertained, informed, and molded the theatre-going British public.
Author: Amy Holzapfel
Publisher: Routledge
ISBN: 1136768432
Category : Performing Arts
Languages : en
Pages : 275
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Book Description
Realism in theatre is traditionally defined as a mere seed of modernism, a crude attempt to reproduce an exact copy of reality on stage. Art, Vision & Nineteenth-Century Realist Drama redefines realism as a complex and under-examined form of visual modernism, one that positioned theatre at the crux of the encounter between consciousness and the visible world. Tracing a historical continuum of "acts of seeing" on the realist stage, Holzapfel demonstrates how theatre participated in modernity’s aggressive interrogation of vision’s residence in the human body. New findings by scientists and philosophers—such as Diderot, Goethe, Müller, Helmholtz, and Galton—exposed how the visible world is experienced and framed by the unstable relativism of the physiological body rather than the fixed idealism of the mind. Realist artists across media paradoxically embraced this paradigm shift by focusing on the embodied observer. Drawing from extensive archival research, Holzapfel conducts close readings of iconic dramas and their productions—including Scribe’s The Glass of Water, Zola’s Thérèse Raquin, Ibsen’s A Doll House, Strindberg’s The Father, and Hauptmann’s Before Sunrise—alongside analyses of artwork by major painters and photographers—such as Chardin, Nadar, Millais, Rejlander, and Liebermann. In a radical challenge to existing criticism, Holzapfel argues that realism in theatre was never the attempt to reproduce an exact copy of the seen world but rather the struggle to make visible the act of seeing.
Author: Kathleen Davidson
Publisher: Bloomsbury Publishing USA
ISBN: 1501352792
Category : Art
Languages : en
Pages : 353
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Book Description
How did scientists, artists, designers, manufacturers and amateur enthusiasts experience and value the sea and its products? Examining the commoditization of the ocean world during the nineteenth century, this book demonstrates how the transaction of oceanic objects inspired a multifaceted material discourse stemming from scientific exploration, colonial expansion, industrialization, and the rise of middle-class leisure. From the seashore to the seabed, marine organisms and environments, made tangible through processing and representational technologies, captivated practitioners and audiences. Combining essays and case studies by scholars, curators, and scientists, Sea Currents investigates the collecting and display, illustration and ornamentation, and trade and consumption of marine flora and fauna, analysing their material, aesthetic and commercial dimensions. Traversing global art history, the history of science, empire studies, anthropology, ecocriticism and material culture, this book surveys the currency of marine matter embedded in the economies and ecologies of a modernizing ocean world.
Author: Jeffrey Richards
Publisher: Bloomsbury Publishing
ISBN: 085773587X
Category : Performing Arts
Languages : en
Pages : 682
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Book Description
Of all the theatrical genres most prized by the Victorians, pantomime is the only one to have survived continuously into the twenty-first century. It remains as true today as it was in the 1830s, that a visit to the pantomime constitutes the first theatrical experience of most children and now, as then, a successful pantomime season is the key to the financial health of most theatres. Everyone went to the pantomime, from Queen Victoria and the royal family to the humblest of her subjects. It appealed equally to West End and East End, to London and the provinces, to both sexes and all ages. Many Victorian luminaries were devotees of the pantomime, notably among them John Ruskin, Charles Dickens, Lewis Carroll and W.E. Gladstone. In this vivid and evocative account of the Victorian pantomime, Jeffrey Richards examines the potent combination of slapstick, spectacle and subversion that ensured the enduring popularity of the form. The secret of its success, he argues, was its continual evolution. It acted as an accurate cultural barometer of its times, directly reflecting current attitudes, beliefs and preoccupations, and it kept up a flow of instantly recognisable topical allusions to political rows, fashion fads, technological triumphs, wars and revolutions, and society scandals. Richards assesses throughout the contribution of writers, producers, designers and stars to the success of the pantomime in its golden age. This book is a treat as rich and appetizing as turkey, mince pies and plum pudding.
Author: Robert DeMaria, Jr.
Publisher: John Wiley & Sons
ISBN: 1118731808
Category : Literary Criticism
Languages : en
Pages : 645
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Book Description
A Companion to British Literature, Victorian and Twentieth-Century Literature, 1837 - 2000
Author: Tiziana Morosetti
Publisher: Springer Nature
ISBN: 3030439577
Category : Performing Arts
Languages : en
Pages : 517
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Book Description
The first comprehensive publication on the subject, this book investigates interactions between racial thinking and the stage in the modern and contemporary world, with 25 essays on case studies that will shed light on areas previously neglected by criticism while providing fresh perspectives on already-investigated contexts. Examining performances from Europe, the Americas, the Middle East, Africa, China, Australia, New Zealand, and the South Pacifi c islands, this collection ultimately frames the history of racial narratives on stage in a global context, resetting understandings of race in public discourse.
Author: John M. MacKenzie
Publisher: Manchester University Press
ISBN: 1526118300
Category : History
Languages : en
Pages : 253
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Book Description
This is the first book to survey in comparative form the transmission of imperial ideas to the public in six European countries in the nineteenth and twentieth centuries. The chapters, focusing on France, Britain, the Netherlands, Belgium, Germany and Italy, provide parallel studies of the manner in which colonial ambitions and events in the respective European empires were given wider popular visibility. The international group of contributors, who are all scholars working at the cutting edge of these fields, place their work in the context of governmental policies, the economic bases of imperial expansion, major events such as wars of conquest, the emergence of myths of heroic action in exotic contexts, religious and missionary impulses, as well as the new media which facilitated such popular dissemination. Among these media were the press, international exhibitions, popular literature, educational institutions and methods, ceremonies, church sermons and lectures, monuments, paintings and much else.
Author: Hofer-Robinson Joanna Hofer-Robinson
Publisher: Edinburgh University Press
ISBN: 147443956X
Category : Drama
Languages : en
Pages : 430
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Book Description
Features previously unpublished material alongside famous plays This pioneering edition provides access to some of the most popular plays of the nineteenth century. Characterised by exhilarating plots, large-scale special effects and often transgressive characterisation, these dramas are still exciting for modern readers. This anthology lays the foundation for further scholarly work on sensation drama and focuses public attention on to this influential and immensely popular genre. It features five plays from writers including Dion Boucicault and Mary Elizabeth Braddon. These are supported by a substantial critical apparatus, which adds further value to the anthology by providing rich details on performance history and textual variants. The critical introduction situates the genre in its cultural context and argues for the significance of sensation drama to shifting theatrical cultures and practices.Key FeaturesProvides detailed critical apparatus to facilitate the study of neglected plays, including performance history, notes and recommended further readingWidens the critical conversation on sensation drama by drawing attention to the work of female playwrightsReprints obscure works by popular authors and shows their involvement with both literary and theatrical cultures
Author: Rohan McWilliam
Publisher: Oxford University Press
ISBN: 0192556401
Category : History
Languages : en
Pages : 368
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Book Description
How did the West End of London become the world's leading pleasure district? What is the source of its magnetic appeal? How did the centre of London become Theatreland? London's West End, 1800-1914 is the first ever history of the area which has enthralled millions. The reader will discover the growth of theatres, opera houses, galleries, restaurants, department stores, casinos, exhibition centres, night clubs, street life, and the sex industry. The area from the Strand to Oxford Street came to stand for sensation and vulgarity but also the promotion of high culture. The West End produced shows and fashions whose impact rippled outwards around the globe. During the nineteenth century, an area that serviced the needs of the aristocracy was opened up to a wider public whilst retaining the imprint of luxury and prestige. Rohan McWilliam tells the story of the great artists, actors and entrepreneurs who made the West End: figures such as Gilbert and Sullivan, the playwright Dion Boucicault, the music hall artiste Jenny Hill, and the American Harry Gordon Selfridge who wanted to create the best shop in the world. At the same time, McWilliam explores the distinctive spaces created in the West End, from the glamour of Drury Lane and Covent Garden, through to low life bars and taverns. We encounter the origins of the modern star system and celebrity culture. London's West End, 1800-1914 moves from the creation of Regent Street to the glory days of the Edwardian period when the West End was the heart of empire and the entertainment industry. Much of modern culture and consumer society was shaped by a relatively small area in the middle of London. This pioneering study establishes why that was.
