Anna Brenko and the Pushkin Theatre: Moscow's First art Theatre?

1992 ◽  
Vol 33 (1) ◽  
pp. 85-105
Author(s):  
Catherine Schuler
Keyword(s):  
Nineteenth Century ◽  
Theatre History ◽  
Popular Theatre ◽  
Soviet Art ◽  
Art And Literature ◽  
Western Scholarship ◽  
Moscow Art Theatre

Western scholarship on Russian theatre has been so dominated by a few prominent figures that the casual student of theatre history might justifiably be left with the impression that Russian theatre began in 1898 with the founding of the Moscow Art Theatre and ended in the 1930s with Stalin's “purification” of Soviet art and literature and the untimely disappearance of Meierhold. The absence of a significant body of research further reinforces the notion that a small gaggle of men—most notably, those associated with the MAT—were solitary beacons of progress in the otherwise barren landscape of nineteenth-century popular theatre.

British Bravery, or Tars Triumphant: Images of the British Navy in Nautical Melodrama

1988 ◽  
Vol 4 (14) ◽  
pp. 122-143 ◽  
Author(s):  
Jim Davis
Keyword(s):  
Nineteenth Century ◽  
New South ◽  
Real Life ◽  
Theatre History ◽  
Popular Theatre ◽  
South Wales ◽  
Theatre Studies ◽  
The University ◽  
Relationship Of ◽  
The Relationship

In recent years, melodrama has increasingly been recognized not only as an important element in popular theatre studies, but for the intrinsic importance of the form itself. Less considered has been the relationship of the material of melodrama to the ‘real life’ it reflected in a highly conventionalized yet ultimately (for its audiences), recognizable fashion. Here, Jim Davis looks at one major category, nautical melodrama, setting the images of the navy and of sailors that it created alongside factual and critical accounts of life at sea in the first half of the nineteenth century. He conveys both the pressures that existed for redress of abuses, and the consequent balance between coercion and subversion in the melodramas themselves – drawing in particular on the memoirs of Douglas Jerrold to explore aspects of the ambiguity to be found in contemporary attitudes. Jim Davis, who is the author of several books and articles in the area of nineteenth century theatre history, is presently teaching in the School of Theatre Studies at the University of New South Wales.

Fairies in Nineteenth‐Century Art and Literature

2003 ◽  
Vol 50 (1) ◽  
pp. 139-141
Author(s):  
Lucy Hartley
Keyword(s):  
Nineteenth Century ◽  
Art And Literature

scholarly journals Picturing Nineteenth-Century Female Theatre Managers: the Iconology of Eliza Vestris and Sara Lane

2017 ◽  
Vol 33 (1) ◽  
pp. 3-21
Author(s):  
Janice Norwood
Keyword(s):  
Nineteenth Century ◽  
English Literature ◽  
Theatre History ◽  
Senior Lecturer ◽  
Personal Lives ◽  
Professional Activities ◽  
Theatrical Management ◽  
Aesthetic Practice ◽  
Theatre Studies ◽  
The University

Lucia Elizabeth Vestris (1797–1856) and Sara Lane (1822–99) were two pioneering women in nineteenth-century theatre history. Both were accomplished singers who made their names initially in comic and breeches roles and, during periods when theatrical management was almost exclusively confined to men, both ran successful theatre companies in London. Despite these parallels in their professional activities, there are substantial disparities in the scrutiny to which their personal lives were subjected and in how their contemporaries and posterity have memorialized them. In this article, Janice Norwood examines a range of portraits and cartoons of the two women, revealing how the images created and reflected the women's public identities, as well as recording changes in aesthetic practice and social attitudes. She argues that the women's iconology was fundamentally shaped by the contemporary discourse of gender difference. Janice Norwood is Senior Lecturer in English Literature, Drama, and Theatre Studies at the University of Hertfordshire. She has published on various aspects of nineteenth-century theatre history and edited a volume on Vestris for the Lives of Shakespearian Actors series (London: Pickering and Chatto, 2011).

Courtesan

2017 ◽  
Author(s):  
Felicity Chaplin
Keyword(s):  
Nineteenth Century ◽  
Visual Culture ◽  
Real Life ◽  
Second Empire ◽  
Narrow Sense ◽  
General Sense ◽  
High Class ◽  
Art And Literature ◽  
French Art ◽  
The Way

La Parisienne is frequently associated with prostitution, whether in the narrow sense of the streetwalker or courtesan or the general sense of the object and subject of consumption. Tracing her development in nineteenth-century art and literature, this chapter examines the way the Parisienne as courtesan is re-presented in cinema in Charles Chaplin’s A Woman of Paris (1923), Alain Cavalier’s La Chamade (1968), and Baz Luhrmann’s Moulin Rouge! (2001). Cinematic courtesans have their prefigurations in both real life courtesans of the Second Empire, as well as in representations in French art, literature, and visual culture (Manet, Degas, Toulouse-Lautrec, Balzac, Zola, Dumas fils). Motifs associated with the Parisienne courtesan include the familiar tropes associated with Paris as a demimonde: desire, pleasure, and consumption. Alongside these tropes are the visual and narrative motifs on which the iconography of the Parisienne courtesan is based: fashion or style (often conceived to denote luxury and leisure), transformation (usually from provincial to high class), ambiguity (insofar as her class origins, motivations, and emotional allegiances are generally obscure), and the ménage à trois (films featuring Parisienne courtesans often involve the choice between an earnest but poor lover and a rich benefactor).

Conclusion

2021 ◽  
pp. 292-304
Author(s):  
Jennifer Walker
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Catholic Church ◽  
Church And State ◽  
Late Nineteenth Century ◽  
Popular Theatre ◽  
Starting Point ◽  
Late Nineteenth ◽  
The Republic ◽  
The Catholic Church

Taking the 1903 death of Pope Leo XIII as its starting point, the conclusion extends beyond the legal separation of Church and State (1905) in order to trace the ways in which the processes of transformation that were set in motion during the late nineteenth century continued well into the twentieth century. Pierre Nora’s concept of the lieu de memoire illuminates the numerous ways that the sites of Catholic and French memory that the book explores—whether as opera, popular theatre, or concert—found an extraordinary ally in the Republic as it collectively harnessed the power of memory. From its “origin” in the French medieval era, to its transformations throughout the fin-de-siècle, to the response to the devastating fire at Notre-Dame in 2019, the Catholic Church provided (and continues to provide) a new mode of expression for the French Republic. In effect, the success of the twentieth-century renouveau catholique was set in motion by its nineteenth-century forbear: the path was paved by the Republic’s musical Ralliement and the memorialization of its Catholic past as a fundamental cornerstone of its modern existence.

Between Opera and Musical

2017 ◽  
Author(s):  
Christina Fuhrmann
Keyword(s):  
Nineteenth Century ◽  
Musical Theatre ◽  
Early Nineteenth Century ◽  
Popular Theatre ◽  
Nozze Di Figaro

Music occupied an important but uneasy position in early nineteenth-century London theatre. It appeared at all types of theatres, but was constrained by repertoire laws, theatrical conventions, and long-held concerns about the suitability of music for the British character. London theatre composers therefore created works that followed a different aesthetic from Continental opera, one often more congruent with musical theatre. An examination of three works by Henry Bishop for Covent Garden—the melodrama The Miller and his Men, the opera The Slave, and an adaptation of Mozart’s Le nozze di Figaro—demonstrates how British composers positioned music within a culture both fascinated and repelled by it. In the process, important parallels with the use of music in popular theatre are revealed.

Sign in / Sign up

Export Citation Format

Share Document