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Henry Irving (1838-1905), the first actor to be knighted, dominated
the theatre in Britain and beyond for over a quarter of a century.
As an actor, he was strikingly different with his idiosyncratic
pronunciation, his somewhat ungainly physique, and his brilliant
psychological portrayals of virtue and villainy. As a director of
spectacular, and commercially driven, entertainments, Irving
anticipated Hollywood directors from D.W. Griffith to Stephen
Spielberg. And as manager of the Lyceum Theatre, where audiences
included the leading public figures of the day, he controlled every
aspect of the performance. This collection of essays by leading
theatre scholars explores each element of Irving's art: his acting,
his contribution to the plays he commissioned, his flair for the
stage picture, and his ear for incidental music. Like Wagner,
Irving was a proponent of a holistic approach to the stage, that
is, blending together acting, painting, music, and architecture to
create harmonious, balanced, and artistic theatre. Irving emerges
not only as the peer of such eminent contemporaries as Tennyson,
Sullivan, Shaw, and Burne-Jones, but also as a powerful influence
on the twentieth-century theatre.
Henry Irving (1838-1905), the first actor to be knighted, dominated
the theatre in Britain and beyond for over a quarter of a century.
As an actor, he was strikingly different with his idiosyncratic
pronunciation, his somewhat ungainly physique, and his brilliant
psychological portrayals of virtue and villainy. He was also the
director of spectacular, and commercially driven, entertainments
and as the manager of the Lyceum theatre, he controlled every
aspect of the performance. First published in 2008, this collection
of essays by leading theatre scholars explores each element of
Irving's art: his acting, his contribution to the plays he
commissioned, his flair for the stage picture, and his ear for
incidental music. This book will be of interest to those studying
the history of theatre.
Henry Irving (1838-1905), the first actor to be knighted, dominated
the theatre in Britain and beyond for over a quarter of a century.
As an actor, he was strikingly different with his idiosyncratic
pronunciation, his somewhat ungainly physique, and his brilliant
psychological portrayals of virtue and villainy. As a director of
spectacular, and commercially driven, entertainments, Irving
anticipated Hollywood directors from D.W. Griffith to Stephen
Spielberg. And as manager of the Lyceum Theatre, where audiences
included the leading public figures of the day, he controlled every
aspect of the performance. This collection of essays by leading
theatre scholars explores each element of Irving's art: his acting,
his contribution to the plays he commissioned, his flair for the
stage picture, and his ear for incidental music. Like Wagner,
Irving was a proponent of a holistic approach to the stage, that
is, blending together acting, painting, music, and architecture to
create harmonious, balanced, and artistic theatre. Irving emerges
not only as the peer of such eminent contemporaries as Tennyson,
Sullivan, Shaw, and Burne-Jones, but also as a powerful influence
on the twentieth-century theatre.
Henry Irving (1838-1905), the first actor to be knighted, dominated
the theatre in Britain and beyond for over a quarter of a century.
As an actor, he was strikingly different with his idiosyncratic
pronunciation, his somewhat ungainly physique, and his brilliant
psychological portrayals of virtue and villainy. He was also the
director of spectacular, and commercially driven, entertainments
and as the manager of the Lyceum theatre, he controlled every
aspect of the performance. First published in 2008, this collection
of essays by leading theatre scholars explores each element of
Irving's art: his acting, his contribution to the plays he
commissioned, his flair for the stage picture, and his ear for
incidental music. This book will be of interest to those studying
the history of theatre.
Features actors who were significant in their development of new
and innovative ways of performing Shakespeare. This title contains
extracts from diaries, memoirs, private letters, and obituaries
that present a contemporary account of their acting achievements
and personal lives.
Features actors who were significant in their development of new
and innovative ways of performing Shakespeare. This title contains
extracts from diaries, memoirs, private letters, and obituaries
that present a contemporary account of their acting achievements
and personal lives.
Features actors who were significant in their development of new
and innovative ways of performing Shakespeare. This title contains
extracts from diaries, memoirs, private letters, and obituaries
that present a contemporary account of their acting achievements
and personal lives.
During the nineteenth century, the performance of Shakespeare's plays contributed to the creation of a sense of British nationhood at home and overseas. In this book Richard Foulkes explores the political and social uses of Shakespeare through the nineteenth and into the twentieth century and the movement from the consideration of Shakespeare as an enterprise to that of enshrinement as a cultural icon. An examination of leading Shakespearian actors, managers and directors, from Britain and abroad, is also included in the study.
Queen Victoria was both Supreme Head of the Church of England and an ardent playgoer. At the beginning of her reign considerable antagonism existed between the Church and the theater, but by the end the reconciliation was almost complete. This book explores the process in terms of trends in religious thought (the Oxford Movement and Christian-Socialism), other contemporary developments such as urbanization, education and women's emancipation and the principal protagonists: clergymen, dramatists, actors and actresses.
The contributions to this book constitute a concerted account of
the place of Shakespeare in the Victorian theatre and the cultural
life of the country in the nineteenth century. They explore the
changing styles of acting and staging used for Shakespeare's plays
by Macready, Charles Kean, the Irvings, Ellen Terry and Beerbohm
Tree, and examine Shakespeare's influence on Victorian dramatists
(Sheridan Knowles, Albery and W.S. Gilbert) and the relationship
between the stage and the allied arts of painting (David Scott, the
Pre-Raphaelites and Alma-Tadema) and music (Sullivan). During Queen
Victoria's reign Shakespeare's plays attracted new audiences from
the court at Windsor to such rapidly expanding conurbations as
Leicester and Sheffield. In France, Germany, Italy and the New
World, Shakespeare effectively became an ambassador of Britain's
growing power and influence. The book develops a fascinating and
well-illustrated account of these changes.
The final decade of the nineteenth century was one of the most
exciting and productive in the history of the British theatre. In
this fascinating collection, twelve leading scholars examine the
playwrights, actors, designers and theatrical environment of the
period. As well as shedding light on such familiar figures as
Pinero, H.A. Jones, Beerbohm Tree and Mrs Patrick Campbell, much of
the hitherto neglected activity of the period is explored including
toga plays, painting and the theatre, theatre architecture and
travelling theatres. The volatile issue of indecency and the music
hall is also explored and the question of the immorality of the
stage is analysed as a recurring theme of the decade. The volume
contains numerous illustrations from the period and will be of
interest to students and specialists of drama, theatre and social
history and British literature.
Author of the enduringly popular Alice books, mathematician,
Anglican cleric, and pioneer photographer, Lewis Carroll maintained
a lifelong enthusiasm for the theatre. Lewis Carroll and the
Victorian Stage is the first book to focus on Carroll's
irresistible fascination with all things theatrical, from childhood
charades and marionettes to active involvement in the dramatisation
of Alice, influential contributions to the debate on child actors,
and the friendship of leading players, especially Ellen Terry. As
well as being a key to his complex and enigmatic personality,
Carroll's interest in the theatre provides a vivid account of a
remarkable era on the stage that encompassed Charles Kean's
Shakespeare revivals, the comic genius of Frederick Robson, the
heyday of pantomime, Gilbert and Sullivan, opera bouffe, the Terry
sisters, Henry Irving, and favourite playwrights Tom Taylor, H. A.
Jones, and J. M. Barrie. With attention to the complex motives that
compelled Carroll to attend stage performances, Foulkes examines
the incomparable record of over forty years as a playgoer that
Carroll left for posterity.
During the reign of Queen Victoria, herself an ardent theatregoer
as well as Supreme Governor of the Church of England, a remarkable
rapprochement was effected between the Church and the stage. This
1997 book explores the implications for the theatre of the great
religious movements of the period: Tractarianism, Christian
Socialism and Latitudinarianism. This central relationship is seen
in the context of other important themes in Victorian cultural
history such as censorship, urbanization, transport, leisure,
self-improvement and women's emancipation. The volume contains
portraits of significant churchmen, dramatists, actors and
actresses, including Newman and Keble, Bulwer Lytton and Shaw,
Irving, Fanny Kemble and Ellen Terry. They were amongst the
influential figures who participated in the search for a common
culture which preoccupied the nineteenth century. To the Victorians
the Church and the theatre were important parts of everyday life;
in this study the two institutions are explored in relation not
only to each other but also to the social, economic and
intellectual movements of the period.
During the nineteenth century the performance of Shakespeare's
plays contributed significantly to the creation of a sense of
British nationhood at home and overseas. This was achieved through
the enterprise of the commercial theatre rather that state subsidy
and institutions. Britain had no National Theatre, but
Shakespeare's plays were performed up and down the land from the
fashionable West End to the suburbs of the capital and the
expanding industrial conurbations to the north. British actors
travelled the world to perform Shakespeare's plays, while foreign
actors regarded success in London as the ultimate seal of approval.
In this book, Richard Foulkes explores the political and social
uses of Shakespeare through the nineteenth and into the twentieth
century and the movement from the business of Shakespeare as an
enterprise to that of enshrinement as a cultural icon. An
examination of leading Shakespearean actors, managers and
directors, from Britain and abroad, is also included in the study.
Author of the enduringly popular Alice books, mathematician,
Anglican cleric, and pioneer photographer, Lewis Carroll maintained
a lifelong enthusiasm for the theatre. Lewis Carroll and the
Victorian Stage is the first book to focus on Carroll's
irresistible fascination with all things theatrical, from childhood
charades and marionettes to active involvement in the dramatisation
of Alice, influential contributions to the debate on child actors,
and the friendship of leading players, especially Ellen Terry. As
well as being a key to his complex and enigmatic personality,
Carroll's interest in the theatre provides a vivid account of a
remarkable era on the stage that encompassed Charles Kean's
Shakespeare revivals, the comic genius of Frederick Robson, the
heyday of pantomime, Gilbert and Sullivan, opera bouffe, the Terry
sisters, Henry Irving, and favourite playwrights Tom Taylor, H. A.
Jones, and J. M. Barrie. With attention to the complex motives that
compelled Carroll to attend stage performances, Foulkes examines
the incomparable record of over forty years as a playgoer that
Carroll left for posterity.
This scarce antiquarian book is a selection from Kessinger
Publishing's Legacy Reprint Series. Due to its age, it may contain
imperfections such as marks, notations, marginalia and flawed
pages. Because we believe this work is culturally important, we
have made it available as part of our commitment to protecting,
preserving, and promoting the world's literature. Kessinger
Publishing is the place to find hundreds of thousands of rare and
hard-to-find books with something of interest for everyone!
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