This work shows how the emphasis placed on the visual elements of Victorian productions revolutionized the position that stage designers held. They emerged from anonymity, becoming recognized and highly-praised collaborators in the creative process.
This work shows how the emphasis placed on the visual elements of Victorian productions revolutionized the position that stage designers held. They emerged from anonymity, becoming recognized and highly-praised collaborators in the creative process.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Alicia Finkel has designed sets and costumes for film, television and opera. She taught stage design and costume history at the Art Institute of Chicago and the University of Connecticut. Currently she is a trustee at the Ballard Institute and Museum of Puppetry. She lives in Leland, North Carolina.
Inhaltsangabe
Table of Contents Preface Introduction 1. The First Romantics 2. Madame Vestris, James Robinson, Planché and William Beverley: Romanticism, Fantasy, and Spectacle 3. Charles Kean and His Designers: A Romance with History 4. Wilson Barrett and Edward William Godwin: Another Romantic View of History 5. Henry Irving: A Romantic Actor and His Set Designers 6. Romantic Swan Song 7. Romantic Fairies and Medieval Knights Appendix A: On the Painting of Fairy Scenes and Other Stage Illusions Appendix B: Brief Biographies Notes Select Bibliography Index
Table of Contents Preface Introduction 1. The First Romantics 2. Madame Vestris, James Robinson, Planché and William Beverley: Romanticism, Fantasy, and Spectacle 3. Charles Kean and His Designers: A Romance with History 4. Wilson Barrett and Edward William Godwin: Another Romantic View of History 5. Henry Irving: A Romantic Actor and His Set Designers 6. Romantic Swan Song 7. Romantic Fairies and Medieval Knights Appendix A: On the Painting of Fairy Scenes and Other Stage Illusions Appendix B: Brief Biographies Notes Select Bibliography Index
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