The truth of masks (eBook, PDF) - Wilde, Oscar
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n many of the somewhat violent attacks that have recently been made on that splendour of mounting which now characterises our Shakespearian revivals in England, it seems to have been tacitly assumed by the critics that Shakespeare himself was more or less indifferent to the costumes of his actors, and that, could he see Mrs. Langtry’s production of Antony and Cleopatra, he would probably say that the play, and the play only, is the thing, and that everything else is leather and prunella. While, as regards any historical accuracy in dress, Lord Lytton, in an article in the Nineteenth Century,…mehr

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Produktbeschreibung
n many of the somewhat violent attacks that have recently been made on that splendour of mounting which now characterises our Shakespearian revivals in England, it seems to have been tacitly assumed by the critics that Shakespeare himself was more or less indifferent to the costumes of his actors, and that, could he see Mrs. Langtry’s production of Antony and Cleopatra, he would probably say that the play, and the play only, is the thing, and that everything else is leather and prunella. While, as regards any historical accuracy in dress, Lord Lytton, in an article in the Nineteenth Century, has laid it down as a dogma of art that archaeology is entirely out of place in the presentation of any of Shakespeare’s plays, and the attempt to introduce it one of the stupidest pedantries of an age of prigs.Lord Lytton’s position I shall examine later on; but, as regards the theory that Shakespeare did not busy himself much about the costume-wardrobe of his theatre, anybody who cares to study Shakespeare’s method will see that there is absolutely no dramatist of the French, English, or Athenian stage who relies so much for his illusionist effects on the dress of his actors as Shakespeare does himself.Knowing how the artistic temperament is always fascinated by beauty of costume, he constantly introduces into his plays masques and dances, purely for the sake of the pleasure which they give the eye.
Autorenporträt
Oscar Wilde, born Oscar Fingal O'Flahertie Wills Wilde on October 16, 1854 in Dublin, was an eminent Irish author, playwright, and poet, renowned for his barbed wit and flamboyant style. Wilde attended Trinity College, Dublin, and Magdalen College, Oxford, where he excelled in classics and first honed his talent for literary composition. During his time at Oxford, Wilde became involved in the aesthetic movement, advocating the philosophy of 'art for art's sake,' which would permeate his later works. Moving to London, he embarked on a career as a writer, rapidly establishing himself with plays such as 'The Importance of Being Earnest' and 'An Ideal Husband'. His only novel, 'The Picture of Dorian Gray', stands out as a classic of Victorian literature and is praised for its exploration of morality, hedonism, and the duality of human nature. Wilde's literary contributions are not limited to plays and a novel; he was also a prolific essayist. One of his lesser-known works, 'The Truth of Masks'—a collection of essays—illuminates his views on the philosophical and aesthetic aspects of theatre. In these essays, Wilde explores the critical role of costume in Shakespearean drama, emphasizing the interdependence of text and spectacle. This collection is testament to Wilde's belief that surface and symbol are critical to understanding deeper truths. His life, as tumultuous as his writing was brilliant, met a tragic downturn after his imprisonment for 'gross indecency.' Nevertheless, Wilde remains an iconic figure in literature, with his works continuing to be studied for their literary merits and their author's intriguing life story.
Oscar Wilde