Nineteenth Century Theatre and Film最新文献

{"title":"‘Why don’t he Send the Girl to the Asylum?’: Adaptation, Disability and the Social Body in Boucicault's Dot and The Colleen Bawn","authors":"C. Gore","doi":"10.1177/17483727221116134","DOIUrl":"https://doi.org/10.1177/17483727221116134","url":null,"abstract":"This article examines disability in Dion Boucicault's adaptations Dot (1859) and The Colleen Bawn (1860), arguing that Boucicault uses disabled characters both to construct and to complicate the ideal communities formed in the plays’ conclusions. The article traces how Boucicault alters the representation of disability in his source texts, Dickens's The Cricket on the Hearth (1845) and Gerald Griffin's The Collegians (1829). It demonstrates that this is a vital aspect of Boucicault's revision of these texts’ constructions of the social body and that his revision of their disability plots has significant political implications.","PeriodicalId":286523,"journal":{"name":"Nineteenth Century Theatre and Film","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129709369","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}

{"title":"Boucicault-O’Casey-Hansberry: Tracing a Line of Influence","authors":"James Moran","doi":"10.1177/17483727221115038","DOIUrl":"https://doi.org/10.1177/17483727221115038","url":null,"abstract":"In 1959, Lorraine Hansberry's play A Raisin in the Sun opened on Broadway after a successful tour. This remarkable performance featured a black cast, and staged a generation that was beginning to find intellectual sources of race pride. By contrast, exactly 100 years earlier, in 1859, the ‘great dramatic “sensation”’ of the New York stage had been Dion Boucicault's The Octoroon, a play set on a plantation and which describes blackness as shameful. In form and in subject matter, these two plays appear to have little in common, but this essay traces a connection between the two. The connection is this: the Irish playwright Sean O’Casey felt inspired by reading and performing the work of Boucicault, and, in turn, O’Casey provided a ‘point of departure’ for Hansberry when she scripted her best-known play. By examining these moments of connection, the essay examines a significant if counter-intuitive line of influence.","PeriodicalId":286523,"journal":{"name":"Nineteenth Century Theatre and Film","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127078264","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}

{"title":"Editorial: Special Issue on Dion Boucicault","authors":"Sarah Meer","doi":"10.1177/17483727221116205","DOIUrl":"https://doi.org/10.1177/17483727221116205","url":null,"abstract":"If we take Dion Boucicault’s own word for it, 2022 marks the bicentenary of his birth. Characteristically, Boucicault may have ornamented the truth about this: his biographer Richard Fawkes thought 1820 was a more likely arrival date. So let us call 2022 the authorised anniversary or the official commemoration year for the subject of this special issue on Nineteenth Century Theatre and Film. This influential, colourful, often unscrupulous man of the theatre worked for over forty years in six countries, earning (and losing) vast sums as a writer, adaptor, and actor-manager. At the height of his career, between the late 1850s and the tail of the 1870s, Dion Boucicault was an inescapable, ubiquitous figure in his industry. Although Boucicault’s work no longer enjoys those levels of fame, it has remained a draw, into the twenty-first century. A list of productions for the last twenty years alone, and just in Britain and Ireland, could include productions at two grand national venues, and also small experimental ones – Boucicault’s spectacular visions translated to theatre-in-the-round and a tiny room above a pub. The list could boast in Dublin the Abbey Theatre’s revivals of The Shaughraun in 2004 and Arrah-na-Pogue in 2011; London Assurance at Newbury’s Watermill Theatre in 2008 and London’s National Theatre in 2010; The Colleen Bawn at Galway’s Druid Theatre in 2013; The School for Scheming at Richmond’s Orange Tree in 2014; Smock Alley Theatre’s The Shaughraun in Dublin in 2018; and After Dark at London’s Finborough Theatre in 2019. Less directly, Boucicault’s marks have made their way into the work of many others, including outside the theatre. Critics have long recognised echoes or influence in Irish and American playwrights (Wilde, Shaw, Synge, and O’Casey; Daly and Belasco), not to mention the allusions in Joyce, one possible source for Bram Stoker’s vampire classic, and the memorial painting by Jack Yeats. But Boucicault is also still fascinating his successors. In 2013, Mark Ravenhill adapted The Octoroon for the radio: the British playwright curated a small series for the BBC Drama on three slots, pairing Boucicault’s 1859 piece with Bertolt Brecht’s Jungle of Cities, and Light Shining in Buckinghamshire by Caryl Churchill. At the same time, An Octoroon, the 2010 rewriting of the same work by Branden Jacobs-Jenkins, has had a stunning career in its own right, winning the 2014 Obie Award for a best new American play, with productions Nineteenth Century Theatre and Film 2022, Vol. 49(2) 99–107 © The Author(s) 2022","PeriodicalId":286523,"journal":{"name":"Nineteenth Century Theatre and Film","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125002239","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}

{"title":"The Colleen Bawn in Her Element: Sensation, Spectatorship, Meaning","authors":"Patricia Smyth","doi":"10.1177/17483727221115932","DOIUrl":"https://doi.org/10.1177/17483727221115932","url":null,"abstract":"This essay considers the appeal of the ‘water cave’ scene in Boucicault's The Colleen Bawn to nineteenth-century spectators by focusing on its iconography and visual address. The written archive is of limited value on this question since contemporary commentators struggled to explain its popularity. Recent scholarly accounts have identified this and other sensation scenes as vehicles for eliciting spectator ‘affect’, meaning involuntary somatic responses, prompted in this case by the spectacle of physical danger. While this approach has been useful in seeking readings beyond those embedded in language and text, it has tended to confine the discussion to a narrow range of extreme affective states associated with anxiety and terror. This essay considers interpretations arising out of the ‘affective turn’ before proposing a new direction. Working across a range of images, I address the specific visual nature of the ‘water cave’ scene, drawing out a more subtle and multi-faceted set of ideas than those with which sensation drama is generally associated, and proposing an alternative reading to do with feminine power and transfiguration.","PeriodicalId":286523,"journal":{"name":"Nineteenth Century Theatre and Film","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130666733","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}

{"title":"Émile Zola, ‘Jean la Poste’, Extracted from, Le Naturalisme au théâtre, les théories et les exemples (1881; Paris: E. Fasquelle, 1912); https://archive.org/details/lenaturalismeaut00zola","authors":"Sarah Meer","doi":"10.1177/17483727221117371","DOIUrl":"https://doi.org/10.1177/17483727221117371","url":null,"abstract":"","PeriodicalId":286523,"journal":{"name":"Nineteenth Century Theatre and Film","volume":"66 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125436685","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}

{"title":"‘Why is it Different with a Hare?’ Game-Law Melodrama on Stage and Screen in Colin Hazlewood's Waiting for the Verdict","authors":"Stephen Ridgwell","doi":"10.1177/17483727221113187","DOIUrl":"https://doi.org/10.1177/17483727221113187","url":null,"abstract":"Much of Colin Hazlewood's prolific mid-Victorian output consisted of adaptations. A classic example of Hazlewood's adaptational practice and an excellent case study in the restlessly intermedial nature of nineteenth- and early-twentieth-century popular culture was his 1859 game-law melodrama Waiting for the Verdict. One of Hazlewood's most successful plays, it was later adapted for the screen by the Edwardian filmmakers Mitchell and Kenyon. Tracing his work across different media forms, this article further confirms Hazlewood as a highly skilled adaptor, while offering some viewable evidence of the creative links between theatre and early cinema. The article also suggests that what I term game-law melodrama represented a significant sub-genre variant to the broader one of domestic drama. Game-law melodramas such as Waiting for the Verdict offered picturesque entertainment for largely urban audiences, but they also provided pertinent social comment on a major concern of the day.","PeriodicalId":286523,"journal":{"name":"Nineteenth Century Theatre and Film","volume":"597 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120976949","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}

{"title":"Inventing the American City: Dion Boucicault, John Brougham, and Transatlantic Urban Melodrama","authors":"Nicholas Daly","doi":"10.1177/17483727221114946","DOIUrl":"https://doi.org/10.1177/17483727221114946","url":null,"abstract":"Two Dublin-born playwrights, Dion Boucicault and John Brougham (9 May 1810–7 June 1880), shadowed each other through the world of nineteenth-century theatre. In recent years, critical attention has often focused on their representations of racial and national identities, with Boucicault's plantation drama, The Octoroon, and Brougham's frontier parodies deservedly attracting attention. However, in this essay I want to spotlight their contribution to the local drama, and in particular their staging of urban America within the wider transatlantic context of staging the nineteenth-century city, in such plays as The Poor of New York (1857) and The Lottery of Life (1868). The city as it appears in their work is a place of spectacle, shapeshifting, and sheer illicit fun.","PeriodicalId":286523,"journal":{"name":"Nineteenth Century Theatre and Film","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121251153","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}

{"title":"Book Review: Movie Mavens: US Newspaper Women Take On the Movies, 1914–1923 by Richard Abel","authors":"Diana W. Anselmo","doi":"10.1177/17483727221108109","DOIUrl":"https://doi.org/10.1177/17483727221108109","url":null,"abstract":"","PeriodicalId":286523,"journal":{"name":"Nineteenth Century Theatre and Film","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116264515","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}

{"title":"‘Damn all White Men and Down with Labor’: Race and Genre in Wilkie Collins & Charles Fechter's Black and White","authors":"Joshua Gooch","doi":"10.1177/17483727211041850","DOIUrl":"https://doi.org/10.1177/17483727211041850","url":null,"abstract":"This essay examines Wilkie Collins’s theatrical collaborations with actor-stage manager Charles Albert Fechter from 1867 to 1869, paying particular attention to the ways in which Fechter and Collins focused on questions of race and empire. By historicising their 1869 play Black and White in light of the Morant Bay uprising and its discursive appearances in Britain, the essay argues that Collins and Fechter aimed to reinvent the race melodrama using the model of the imperial melodrama. The failure of this ambivalent play, which presents a critique of racial domination for its all-but-white protagonist alongside racist minstrelsy comedy, affected Collins’s subsequent presentation of racialised characters in his work.","PeriodicalId":286523,"journal":{"name":"Nineteenth Century Theatre and Film","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128817369","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}

{"title":"Book Review: The Cambridge Companion to the Circus by Gillian Arrighi and Jim Davis","authors":"Ron Beadle","doi":"10.1177/17483727221093203","DOIUrl":"https://doi.org/10.1177/17483727221093203","url":null,"abstract":"","PeriodicalId":286523,"journal":{"name":"Nineteenth Century Theatre and Film","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122885007","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}