Pictorial Shakespeare, 1880-1890 - eTheses Repository - University ...

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322 hen he conies we h pj he ,111 h^ve su^cient confidence in his present rntr.oc, oi proceed..^ to dispense v;ith costly scenery, end never to dretm of long runs, fomt is v/tntev. most of all in London is a manager who ill audaciously rely upon the attraction of the art >f acting as the single attraction to his theatre. (28 January 18t-8) nis company wts kno.vn as possessing "perhaps the best end largest repertory of ?r.y company th£t u !ihe .••. -. nor.n ;n corijc-.ny htd succetned by ti.oir i3itn>le siaoarity in a Groer1 pity. «Ly not f.pply tho'sfniB r.uthoo to ~h; ket>pe, re? iiier^ 1 \;as ri ht; I had &r> spec the ide, oi si..ipl- atro-i..^, ti;:; simole strengti. ana com ICK poU-oia'.ity doi'mant in ^ uroek stttue. 1 h, a UiUortu ti tely rut lei.rn-cC the co^Jjxity 01 the liio it presents r. d the tochnicr-1 skill re. uirec for ios expression
323 An engagement at the Lyceum, in êptembef 1882, shoved Benson the extent of his ignore nee: he tic n >t know !«o to fi^ht or die effectively and unobtrusively, he coo not understand v.hy the make-up which he so mistrusted var; necessary on & strê brilli;ntly lit by âs, ; nc' he did not have any inklinb of the "focus anc balance" by which actors arranged themselves on stage. In his autobiography F>enson describes the lee riling of these lesions, reportin0 then as deliverec by Lo,;e and others - the most memorable .;^ an in.iunctio., jf /.lion, the pior.iot^r: V*e aoiiH i.Y.nt ;-ny bloody brains on the ot, ^ , r;i..< b:y, v;e vrrnt ûts, ûts, ^.uts! (p. 168) After the run of Romeo.- and Juliet Benson joined kioo alleya in fcanchuster, leaving behind him the fashionable success of the Agamemnon company and the grandeurs of the Lyceum. The y«ars t. c.t folloi.ea were an c.p>vront;icc;ohi;» of oorts, but the exertions and economies of touring -./ere soon mitigatea by i.is being - after so snort a time - his o, n rnariaêr and by the application tj c standard .provincial re jertoire ol the ide^ lo he lub .:o ,;s later to ow,come hi.s i.iie that the coraorny va* run u\: jn the I eini.ên system, implîu., that ell t.-.e actors t --ok small pi-rt-, on occasion**2 . He believed in the virtues of a repertory system, as op. osec. t5 long ru-is ^ t; labors te ..rcducti .-;^, i policy which wf>s as much e consequence of the natia-e of he compemy he a, u taken over as of o;iy ./.eory of dr:::stic ?rt. benson's con^ny haa to oifer its provincial auoijncea : v , riety oi :)l;;y:,, economica .ly oti^c. This Gconomy cio. i: -t yet consist
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p o , PICTORIAL SHAKESPEARE, 1880-1
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SYNOPSIS This thesis ie in two volu
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VOLU.TE 0:iE Pace. Introduction i A
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11 of habits and jnnmivra, and ic h
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IV ACKHOWL.EnGEM PMT S I am gratefu
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vi 16 .^ccne from Daly's production
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In 1882 J.M.Stoddart, a Philadelphi
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artistic achievement is considerabl
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is of cource and obviously removed
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similar kind sought for the restora
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11 in the earliest dawn of literatu
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13 all conventional circles. It was
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and in Gothic times": In tho;:e tii
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Illustration 1 (b) Hughes, April Lo
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Illust ation 2 (b) Wate timiBe T Th
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17 Moore's independence took him to
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19 fetishism and the worship of lit
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21 felt to be essential in evoking
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23 the now movement was advocated a
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25 the wrong effect in a room, wher
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27 Chapter Two SHAKESPEARE CRITICIS
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29 possesses - and Mr Swinburne, th
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31 T '..e recognise the speech of t
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ihis tells us nv ch more about £>.
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35 (XVII .LGO-Lll,) . The Irving re
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37 This is a typical Wildean parado
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39 autocrat "not merely should desi
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41 series of "efforts to interpret
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4 O J before you, , ith ell their j
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iv. waiter ?at,er«n Pater publishe
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47 This view is re^-examined by the
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49 This description might be of the
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52 Henry V exhibits a contrast betw
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54 an air of grave thought, of an i
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56 Our firot question with regard t
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58 It has been suggest ed that one
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60 would earn "not more than £1,50
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62 hero* a faithful wife, and Geoff
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64 two procoedures can bo observed:
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66 speeches and tableaux. This was
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great a coincidence that Eva should
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70 aa well r.a to the theatre", but
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72 ing Ruth Holt and speaking with
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74 I note, by the bye, that Sweet L
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76 were produced, twelve of them re
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78 These changes in the way in whic
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Clayton in hie speech on the closin
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82 palled on many observers - the c
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84 maintain itself on its intellect
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66 were "becoming so nict and gente
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88 in the course of the century the
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PART 2-.VO The Production of Shakes
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9? On flarch -°4» 1874 reward Fit
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published a collection of Essays in
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96 who did can hardly have been una
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Aquarium" (p»15). Against this may
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-00 pictures: but always \vithout a
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102 of the three major "new" plays,
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Illustration 3 Following p.103 Elle
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105 tiat selects one episode from a
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107 The virtues of Irving*s stagecr
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109 the picturesque grappling in a
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Illust ation Ellen Terry as Lady Ma
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Ill up to i'Tacbeth and his vdfc -
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113 the inadequacy of his voice. Ar
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115 to be calm" when the ncv/s of C
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117 here", and folding his arras at
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119 of events, by the urgency of th
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Illustration 6 Following p.120
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122 to the ba.ok a grcnd effect is
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124 by the Doctor and "ihc Gentlewo
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126 Macbeth woo in continuous perfo
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128 SCliilE PAi;,-,i;rt t DESI&ITER
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130 Between 18?4 and 1875 Godwin ha
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132 The solution of this unadifying
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1..4 Alhainbra Theatre in December
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136 but ac. an architect and interi
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138 in the flcah the customs of t:i
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140 each of the plays in the Shakes
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142 the beauty of proportion, and t
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144 The etc c-Li;'ru'êraent of the
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146 considerable diplomacy in ceali
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148 We hope we are doing Sir iûire
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150 Chapter Three GODWIN, ..ILuOIi
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152 approval of literote and intel
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haa never been genarous to the Bard
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155 adornments, bold embroideries,
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156 good nctor" in modern comedy, w
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en rt- SB rt- O VJ1 •O
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-U9 Sola i i his Illustrated London
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lol an unusual chill in the air, wh
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' Captious Critic found him incongr
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signals to each, other surropticiou
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167 and would appear, from the prom
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109 "paddock" (Theoualrl*s emendati
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I O 1 o 0 Q 3 f* ; n « o o » § 6
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173 After learning of Polonius's mu
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; cl:ed u vt.'co t •.v;r.rc1 c a
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177 spade and lade ?r, evidently fo
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179 was current in the years of the
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11 Laciec and C-c: blcmon, - I woul
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1-3 ions to all and sundry. The pla
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165 Chapter Four. k-JiibHi£LD Arii
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To iill the Vc cant position - assu
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169 oi the early 'eighties often sh
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evidence in Ingomar (a play he admi
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193 Lady of Lyons would be retained
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195 by ? roviv.' 1 oi ty^n; lion,,
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197 (according to the interview) on
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199 period at all" and th
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201 not been token into account in
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203 the fray. Enter three or four c
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. Illust ation 10 Following p. 20k
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206 The first misfortune of the eve
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208 the back a row of three rounded
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210 notes the t "there seens little
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absent in both. Fron the balcony uo
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214 good deal". The Illustrated s_p
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216 £i:c! DIVJ obse ver useci "arc
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... .'lien Ju'ici, ;".s picked u by
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ia t.-is scene. In c; be f L.n ac-r
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2; 2 "picture" i^ruc as to ; ct-c'r
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c cy oi Subr, s ion all the no re s
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26 . to• orô the spocc t:>r..:>
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Uiot belor-/". 'iho i.t i'iy ,.o _o
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230 oi lc%uo lor icorôo tnu the re
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232 arausea . The merry-anarew" - G
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234 comings, the new Romeo and Juli
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236 On January 4, 1884 The Times ha
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c-38 propoial to present Browning's
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240 for 1884" (5 January 1884): Ret
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242 It was A%% to be exoccted that
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None of this was of avail: reviewer
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246 few stage-directions, and some
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248 to "Mr David James's chick-a-le
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250 "Master, co on, and I will foll
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TI-, 4. 4.-«« n Following p.251 .
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253 not enthusiastic, is often kind
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Illustration 12 Mr and Mrs Kendal a
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256 she delivered "0 oninous.J He c
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258 It v/rxc p..T-b of a rtr-tcLy o
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260 ohakoapc.-re seemed to have bee
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262 -c.ky 'h t 2 June 1804). In 100
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264 wary Andersen's p.-oOuction of
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266 at home in her part. "\v. .A."
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268 at first. Peovlc must rrov; e.c
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P70 inforn- ti-»n ;v.-c rot ^r-.a^
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272 he mentioned those used in the
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274 of fifty-six minutes. The brief
Page 300 and 301: 276 F.H. K c din, as Polixenes, \vr
Page 302 and 303: 277 moved towards her. Tier next 1
Page 304 and 305: its early speeches the actress "see
Page 306 and 307: 261 i-Ievs, he a scared "bright and
Page 308 and 309: 282 laughter and nur.ic v/eie heard
Page 310 and 311: Ha, ha, what a fool honesty is} I p
Page 312 and 313: -Illustration 15 — Mary Anderson
Page 314 and 315: 287 at 103 - "You perceive she stir
Page 316 and 317: artistic predilection* to the theat
Page 318 and 319: 291 Chaoto Seven : Th£ 1888-9 Sti
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Page 322 and 323: 295 written by Shakespeare wrs appr
Page 324 and 325: 297 in a supposedly riliz&bethan ma
Page 326 and 327: Illust ation 16 Following p.298 Sce
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Page 330 and 331: 302 iii. Beerbohm Tree and The Merr
Page 332 and 333: 304 actor; never yet that Nature ha
Page 334 and 335: 306 rushing water" in the forest wh
Page 336 and 337: 308 ibleS. Lady Tree wrote th,-1 he
Page 338 and 339: 310 original. Daniel BancJmai.n had
Page 340 and 341: 312 i ct Two 1 ay 1471 l.The Roaci
Page 342 and 343: ecorded Mansfield f L, business in
Page 344 and 345: 316 any specific ccscrijtion oi the
Page 346 and 347: 318 Hichara "r. t er hysteric*. 1",
Page 348 and 349: 320 his ctrêr, and his rationalisa
Page 352 and 353: 324 in the use of unit sets, styliz
Page 354 and 355: are vlthin reach of ell, the old sy
Page 356 and 357: 328 to the new stagecraft. Archer a
Page 358 and 359: 330 and the fairies performed an el
Page 360 and 361: to provide a repertory theatre in L
Page 362 and 363: 334 To a society which had made a c
Page 364 and 365: Her public readings, and the reviva
Page 366 and 367: 338 aioting of two short scenes in
Page 368 and 369: 340 greeted with a chorus of catcal
Page 370 and 371: 34; Mrs Langtry again engaged Wingf
Page 372 and 373: 344 virtue of his voice more than b
Page 374 and 375: proper person - one almost expected
Page 376 and 377: Illust:ation 18 Mrs Langtry as Cleo
Page 378 and 379: 343 of the preparations for the bat
Page 380 and 381: 35 J was left to the audience's pow
Page 382 and 383: 352 unable to deny some power in Mr
Page 384 and 385: oversight of \vin,cfield's, or did
Page 386 and 387: 356 The actress should take for gra
Page 388 and 389: "Isn't she Itoyall" "Isn't she " sn
Page 390 and 391: 360 'illir.i Poel's collection of e
Page 392 and 393: 362 lost in retrospect by contrast
Page 394 and 395: 364 Artist (1087), but the emotiona
Page 396 and 397: SONDERDRUCK DEUTSCHE SHAKESPEARE-GE
Page 398 and 399: Designer and Director: E. W. Godwin
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Designer and Director: E. W. Godwin
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