Nineteenth Century Theatre and Film最新文献

Book Review: Paul Delaroche: Painting and Popular Spectacle by Patricia Smyth 书评：保罗-德拉罗什：绘画与大众奇观》，帕特里夏-斯迈思著

Nineteenth Century Theatre and Film Pub Date : 2024-05-05 DOI: 10.1177/17483727241245400

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Book Review: Victorian Touring Actresses: Crossing Boundaries and Negotiating the Cultural Landscape by Janice Norwood 书评维多利亚巡回演出女演员：珍妮丝-诺伍德（Janice Norwood）所著《跨越边界与协商文化景观》（Crossing Boundaries and Negotiating the Cultural Landscape

Nineteenth Century Theatre and Film Pub Date : 2024-03-26 DOI: 10.1177/17483727241236752

Sos Eltis

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Book Review: The Wonders: Lifting the Curtain on the Freak Show, Circus and Victorian Age by John Woolf 书评奇迹：揭开怪人秀、马戏团和维多利亚时代的帷幕》，约翰-伍尔夫著

Nineteenth Century Theatre and Film Pub Date : 2024-03-22 DOI: 10.1177/17483727241238694

Joyce L. Huff

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The 1871 Lease of the Theatre Royal Haymarket 1871 年皇家干草市场剧院租约

Nineteenth Century Theatre and Film Pub Date : 2024-03-14 DOI: 10.1177/17483727241237774

Vanessa L. Rogers, Marcus Risdell

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Book Review: Victorians on Broadway: Literature, Adaptation, and the Modern American Musical by Sharon Aronofsky Weltman 书评百老汇的维多利亚人：文学、改编和现代美国音乐剧》，莎伦-阿罗诺夫斯基-韦尔特曼著

Nineteenth Century Theatre and Film Pub Date : 2024-02-28 DOI: 10.1177/17483727241235121

Sarah Meer

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Book Review: New Perspectives on Early Cinema History: Concepts, Approaches, Audiences by Mario Slugan and Daniel Biltereyst 书评：早期电影史的新视角：概念、方法、观众》，马里奥-斯卢根和丹尼尔-比尔特雷斯特著

Nineteenth Century Theatre and Film Pub Date : 2024-02-20 DOI: 10.1177/17483727231220289

Nezih Erdoğan

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Book Review: Les As de la Manivelle – Le Métier d’Opérateur de Prise de Vues Cinématographiques en France (1895–1930) by Priska Morrisey 书评：Les As de la Manivelle - Le Métier d'Opérateur de Prise de Cinématographiques en France (1895-1930) by Priska Morrisey

Nineteenth Century Theatre and Film Pub Date : 2024-02-20 DOI: 10.1177/17483727231220284

Richard Bossons

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Andersonville, the Story of Wilson's Raiders 安德森维尔，威尔逊突击队的故事

Nineteenth Century Theatre and Film Pub Date : 2023-11-01 DOI: 10.1177/17483727231215353

David Mayer

{"title":"Andersonville, the Story of Wilson's Raiders","authors":"David Mayer","doi":"10.1177/17483727231215353","DOIUrl":"https://doi.org/10.1177/17483727231215353","url":null,"abstract":"The concluding American Civil War spectacle-drama, announced and widely publicised as Andersonville, The Story of Wilson's Raiders (1905), was abruptly retitled The Raiders as the New York Hippodrome's management removed the scene depicting the Confederate prison on the pretext of avoiding partisan sensibilities linked to the war, but more likely to shorten the evening's programme by a half-hour. This essay describes the drama as it was written and rehearsed beginning with a West Point graduation and commissioning ceremony as the announcement of war divides the graduates and separates couples whose romance has spanned northern and southern states. The five-scene drama concludes with a fierce cavalry battle utilising the ‘Thompson and Dundy plunging horses’ in the Hippodrome's flooded arenas. The drama enacts the graduation and commissioning of a young Union officer, his enforced separation from his Southern sweetheart, his capture by Confederate forces, and imprisonment in the notorious and filthy Andersonville prison. We witness his ingenious escape, his reunion with his sweetheart, and his return to battle leading a cavalry detachment. This essay documents the effects created in each scene of the entertainment, which concludes with an imagined re-enactment of a conflict fought by mounted Union and Confederate cavalrymen in the Hippodrome's two arenas, now a vast tank, flooded before the audience's eyes as a part of the overall spectacle. The essay also notes the frequent unsubstantiated claims of historical authenticity made by Fred Thompson and Elmer ‘Skip’ Dundy and, where necessary, corrects them.","PeriodicalId":286523,"journal":{"name":"Nineteenth Century Theatre and Film","volume":"52 1","pages":"191 - 201"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139292150","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Establishing the New York Hippodrome as an Intrinsically ‘American’ Entertainment Venue Through Publicity & A Yankee Circus on Mars’s Performance Practice 通过宣传和《火星上的美国马戏团》的表演实践，将纽约马戏团打造成本质上属于 "美国 "的娱乐场所

Nineteenth Century Theatre and Film Pub Date : 2023-11-01 DOI: 10.1177/17483727231202023

Kate Holmes

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引用次数: 0

Realistic Spectacle: Arthur Voegtlin's Nineteenth-Century Stagecraft at the New York Hippodrome 逼真的奇观阿瑟-沃格林在纽约马戏团的十九世纪舞台艺术

Nineteenth Century Theatre and Film Pub Date : 2023-11-01 DOI: 10.1177/17483727231198457

Sunny Stalter-Pace

{"title":"Realistic Spectacle: Arthur Voegtlin's Nineteenth-Century Stagecraft at the New York Hippodrome","authors":"Sunny Stalter-Pace","doi":"10.1177/17483727231198457","DOIUrl":"https://doi.org/10.1177/17483727231198457","url":null,"abstract":"Arthur Voegtlin (1858–1948) designed and oversaw the construction and painting of all the major sets for the New York Hippodrome's first season, from an archway formed by two rearing dragons in the courtyard of a Martian king to the grounds of a military academy at the start of the American Civil War. In this essay, I consider the ways that Voegtlin's sets navigated the distance between fantasy and verisimilitude, bringing together his experience painting sets for immersive, spectacular works with his training as a scene painter for the realistic interiors of the legitimate theatre's comedies and dramas. Voegtlin drew on those techniques to establish the mise en scène of realistic spectacle for which the New York Hippodrome became known. Voegtlin's appeals to photographic accuracy, acute awareness about how he needed to account for the size and scale of the space for which he was designing, and sense of the audience member's embodiment (particularly in relation to that of an amusement park spectator and a viewer of modern paintings) all demonstrate how Voegtlin saw his set designs at the Hippodrome as an extension of the dramatic principles he embraced throughout this period.","PeriodicalId":286523,"journal":{"name":"Nineteenth Century Theatre and Film","volume":"8 1","pages":"137 - 151"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139302666","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0