Jim Davis explores the relationship between comic performance and the visual arts in England c.1780â 1830, focussing on the influence of Hogarth and Wilkie on theatre criticism and portraiture, caricature as critique and the contribution of comic actors to notions of national identity.
Jim Davis explores the relationship between comic performance and the visual arts in England c.1780â 1830, focussing on the influence of Hogarth and Wilkie on theatre criticism and portraiture, caricature as critique and the contribution of comic actors to notions of national identity.
Jim Davis is Professor of Theatre Studies at the University of Warwick. As a researcher, he specialises in British theatre during the long nineteenth century. He has published a biographical study of John Liston, an edition of the plays of H. J. Byron and an edition of the diaries of the stage manager of the Britannia Theatre, Hoxton, Frederick Wilton. With Victor Emeljanow he co-wrote a prize-winning study of nineteenth-century theatre audiences, Reflecting the Audience: London Theatregoing 1840-1880 (2001), and more recently he has edited a collection of critical essays on Victorian Pantomime (2010) and a volume on Edmund Kean. He has also co-convened Theatre Historiography groups for the International Federation for Theatre Research and for the British Theatre and Performance Research Association, and is an editor of the journal Nineteenth Century Theatre and Film.
Inhaltsangabe
Part I. English Comic Actors and their Representation: 1. The low comic actor 2. Artists and comic actors 3. Perspectives on comedy and comic acting Part II. Humorous as a Sketch by Hogarth: 4. Comedy and caricature: Joseph Munden and Isabella Mattocks 5. John Liston: caricaturing preachers and cockneys 6. The low comedian as material object 7. Caricature, degradation, persona and portraiture 8. Paintings by George Clint Part III. Chaste as a Picture by Wilkie: 9. Wilkie, everyday life and the theatre 10. Acting from nature and observation 11. John Bannister: 'the best kind of Englishman' 12. John Emery: 'this Wilkie of Actors' 13. Actors as artists and connoisseurs Part IV. Alone I Did It! The Case of Charles Mathews: 14. Charles Mathews 'at home' 15. Charles Mathews: paintings, portraits and prints 16. The Harlow portrait of Charles Mathews.
Part I. English Comic Actors and their Representation: 1. The low comic actor 2. Artists and comic actors 3. Perspectives on comedy and comic acting Part II. Humorous as a Sketch by Hogarth: 4. Comedy and caricature: Joseph Munden and Isabella Mattocks 5. John Liston: caricaturing preachers and cockneys 6. The low comedian as material object 7. Caricature, degradation, persona and portraiture 8. Paintings by George Clint Part III. Chaste as a Picture by Wilkie: 9. Wilkie, everyday life and the theatre 10. Acting from nature and observation 11. John Bannister: 'the best kind of Englishman' 12. John Emery: 'this Wilkie of Actors' 13. Actors as artists and connoisseurs Part IV. Alone I Did It! The Case of Charles Mathews: 14. Charles Mathews 'at home' 15. Charles Mathews: paintings, portraits and prints 16. The Harlow portrait of Charles Mathews.
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