Nineteenth Century Theatre and Film最新文献_第10页

Michael R. Booth (1931–2017) 迈克尔·r·布斯(1931-2017)

Nineteenth Century Theatre and Film Pub Date : 2018-11-01 DOI: 10.1177/1748372719829978

Michael R. Booth, A. Tribute, Tracy C. Davis

引用次数: 0

Kimberly Poppiti, A History of Equestrian Drama in the United States: Hippodrama’s Pure Air and Fire 金伯利·波皮蒂，《美国马术戏剧史:希波马戏剧的纯净空气与火焰》

Nineteenth Century Theatre and Film Pub Date : 2018-11-01 DOI: 10.1177/1748372718795737

Cassie Mayer, David Mayer

引用次数: 2

The Theatrical Life and Death of Wych Street 《威奇街的戏剧生与死

Nineteenth Century Theatre and Film Pub Date : 2018-11-01 DOI: 10.1177/1748372719829976

V. Emeljanow

引用次数: 1

Staging Technology: The International Electrotechnical Exhibition in Frankfurt am Main, 1891 舞台技术:1891年美因河畔法兰克福国际电工展览会

Nineteenth Century Theatre and Film Pub Date : 2018-11-01 DOI: 10.1177/1748372719828182

Christina Vollmert

{"title":"Staging Technology: The International Electrotechnical Exhibition in Frankfurt am Main, 1891","authors":"Christina Vollmert","doi":"10.1177/1748372719828182","DOIUrl":"https://doi.org/10.1177/1748372719828182","url":null,"abstract":"The 1891 International Electrotechnical Exhibition in Frankfurt am Main displayed a wide range of technological inventions and advancements from around the world. Inspired by the big world fairs, organisers staged spectacular arrangements of exhibits and technological inventions combined with theatrical entertainment. This article will take as its focus a specific performative aspect of a water spectacle, called ‘Tatzelwurm’ – a fantastical environment inspired by the poem ‘Zum feurigen Tatzelwurm’ by German novelist Joseph von Scheffel, which was dedicated to a Bavarian tavern on top of a waterfall. Repurposed to depict the power of steam engines within the context of the Electrotechnical Exhibition, this tavern was built on an artificial rock above an electrically powered waterfall. Besides the interplay between new inventions and theatricality in the nineteenth century, the article focuses on the ecology of this scenery. The exhibition actually cost more money to build than it ever earned back in visitor revenue. Using Alfons Paquet's concept of Schauwert (value of aesthetic experience) and Joseph Pine/James Gilmore's concept of the Experience Economy I will illustrate that theatrical environments produce their own value on aesthetic terms.","PeriodicalId":286523,"journal":{"name":"Nineteenth Century Theatre and Film","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133322030","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: 2

Signs of the Times: Outdoor Theatrical Advertising in the Nineteenth Century 时代的标志:19世纪的户外剧场广告

Nineteenth Century Theatre and Film Pub Date : 2018-11-01 DOI: 10.1177/1748372718818192

L. Senelick

{"title":"Signs of the Times: Outdoor Theatrical Advertising in the Nineteenth Century","authors":"L. Senelick","doi":"10.1177/1748372718818192","DOIUrl":"https://doi.org/10.1177/1748372718818192","url":null,"abstract":"In 1862 the painter Gustave Courbet proposed to the critic Saint-Beuve that Paris be decorated with monumental outdoor paintings on specially dedicated edifices such as railway stations and churches; replacing the imagery of medieval cathedrals, these cityscapes were to be ‘picturesque, moral, industrial, metallurgic—: the saints and miracles of the new society’. The concept was encyclopaedic, in tune with the positivist and omnivorous culture of nineteenth-century Europe. It would never be realised as a purely artistic project, but it did find expression through commercial advertising. In particular, the expansion of the playbill into the theatrical poster provided colour, information and sensation throughout the urban scene, offering its own secular brand of miracles and saints. If a playscript, stage design or performance is taken to be a text, the playbill, poster or flyer is interpreted by some semioticians to be a ‘paratext’. Its intention is to convey ‘contextual signals of genre’, or, more simply, ‘instructions for use’. The theatrical event is given a spin by it, assigned a specific genre, touted to be a particular kind of phenomenon; the audience is preconditioned to act on this information or advice, responding to the event along the lines set down by the paratext. In her examination of the playbill, Mariana Net reads the intent of the paratext as stimulation of the audience to receive the artistic communiqué in a more ‘active’ manner; it may also lead it to devise its own fiction which then interacts with the fiction of the performance. Jacky Bratton, for her part, argues that one should see the playbill as central to understanding an ‘intertheatrical’ reading of a ‘single night in the theatre’. Bratton reads the process backwards, with the playbill providing access to ‘the expectations and disposition of the audience, their personal experience of theatre’.","PeriodicalId":286523,"journal":{"name":"Nineteenth Century Theatre and Film","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133177229","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: 3

Spectral Spectacle: Traps, Disappearances, and Disembodiment in Nineteenth-Century British Melodrama 幽灵奇观:19世纪英国情节剧中的陷阱、失踪和分离

Nineteenth Century Theatre and Film Pub Date : 2018-09-25 DOI: 10.1177/1748372718799081

E. Urban

引用次数: 3

Andrew Maunder (ed.), British Theatre and the Great War 1914–1919: New Perspectives 安德鲁蒙德(编)，英国戏剧和大战1914-1919:新观点

Nineteenth Century Theatre and Film Pub Date : 2018-08-17 DOI: 10.1177/1748372718792085

Helen E. M. Brooks

引用次数: 0

Blue Jeans Stage and Screen 舞台和银幕上的牛仔裤

Nineteenth Century Theatre and Film Pub Date : 2018-08-13 DOI: 10.1177/1748372718791055

David Mayer, Helen Day-Mayer

{"title":"Blue Jeans Stage and Screen","authors":"David Mayer, Helen Day-Mayer","doi":"10.1177/1748372718791055","DOIUrl":"https://doi.org/10.1177/1748372718791055","url":null,"abstract":"Scholars of Victorian and Edwardian theatre necessarily piece together their accounts of ephemeral performance through manuscripts, reviews, and other responses preserved in print and visual culture. However, films made between 1895 and 1935 offer frequent, unexpected, and sometimes curiously skewed glimpses of the Victorian and Edwardian stage. This essay focuses on John H. Collins’s 1917 silent film adaptation of Blue Jeans, Joseph Arthur’s melodrama, popular from its New York debut in 1890. The melodrama is perhaps most famous for ‘the great sawmill scene’. This iconic scene, an early example of an episode in which a helpless victim is tied to a board approaching a huge buzz saw, turns a mundane setting into a terrifying site for suspense, violence, and attempted murder. Whilst the film made alterations and abridgements, the overall effect was to preserve the play’s distinctive features. Our essay shows how the stage version is preserved within Collins’s film adaptation so that the cinematic artefact gives unique access to the Victorian theatrical work. Films not only preserve Victorian forms in modern media and extend the reach of Victorian culture, but also open a new resource and methodology for understanding Victorian and Edwardian theatre.","PeriodicalId":286523,"journal":{"name":"Nineteenth Century Theatre and Film","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134354235","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

The Bernhardt of Scandinavia: Betty Nansen’s Modern Breakthrough 斯堪的纳维亚的伯恩哈特:贝蒂·南森的现代突破

Nineteenth Century Theatre and Film Pub Date : 2018-05-01 DOI: 10.1177/1748372718794360

Vito Adriaensens

引用次数: 0

Eleonora Duse: An Actress-Manager for the Italian Film Industry in the 1910s 埃莉奥诺拉·杜斯:20世纪10年代意大利电影业的女演员兼经理

Nineteenth Century Theatre and Film Pub Date : 2018-05-01 DOI: 10.1177/1748372718787369

M. Pagani

{"title":"Eleonora Duse: An Actress-Manager for the Italian Film Industry in the 1910s","authors":"M. Pagani","doi":"10.1177/1748372718787369","DOIUrl":"https://doi.org/10.1177/1748372718787369","url":null,"abstract":"From a historiographical point of view, the Italian diva Eleonora Duse (1858–1924) as an actress-manager offers an original case study in relation to her only film performance in Cenere (Ashes, 1916). This is a film adapted from the eponymous novel by Grazia Deledda (Nobel Prize for Literature in 1926). In the 1910s, when Duse decided to work in the Italian film industry, she was a celebrity and her name was a guarantee of success for the Ambrosio Company in Turin. The film producers wanted to use her celebrity in order to ensure success at the box office. As an actress-manager with a long and acclaimed international career in the theatre, Duse knew this mechanism very well, but her position was contrary to their expectations. In fact, she aimed to present herself as an anti-diva, with her wrinkle-furrowed face and white hair, proposing a fascinating artistic creation based on the ‘mother roles’ that she had created for the theatre. This paper explores new elements concerning the position of Duse as an actress-manager for the Italian film industry in the 1910s. It is focused on her strategy of reiterating her stage success in playing a mother. On film, she did not want to be an instrument used for commercial purposes, and she did not want to create a common popular diva film. With Cenere, Duse's capability as an actress-manager can be seen in her creation of this non-conventional, poetic role for the silent film industry in wartime Italy.","PeriodicalId":286523,"journal":{"name":"Nineteenth Century Theatre and Film","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132017426","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