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Drawing together a wealth of primary sources, J.A. Sokalski examines the aims, inventions, and methods of the pictorial style that defined MacKaye's art. Sokalski shows how MacKaye's famous Madison Square Theatre, which featured a double stage reminiscent of an elevator, created whirling pictorial illusions for fashionable New York. He argues that MacKaye's infamous failure, the colossal Spectatorium theatre for the 1893 Chicago World's Fair, was the most complete realization of this illusionary aesthetic. Sokalski also explores MacKaye's influence on Buffalo Bill Cody and how civil war cycloramas expanded his concept of pictorial space.
Vol. for 1888 includes dramatic directory for Feb.-Dec.; vol. for 1889 includes dramatic directory for Jan.-May.
"Bibliography: v.2 p. CIV-CVII.
Drawing on fascinating archival discoveries from the past two centuries, Brent Salter shows how copyright has been negotiated in the American theatre. Who controls the space between authors and audiences? Does copyright law actually protect playwrights and help them make a living? At the center of these negotiations are mediating businesses with extraordinary power that rapidly evolved from the mid-nineteenth to mid-twentieth centuries: agents, publishers, producers, labor associations, administrators, accountants, lawyers, government bureaucrats, and film studio executives. As these mediators asserted authority over creativity, creators organized to respond, through collective minimum contracts, informal guild expectations, and professional norms, to protect their presumed rights as authors. This institutional, relational, legal, and business history of the entertainment history in America illuminates both the historical context and the present law. An innovative new kind of intellectual property history, the book maps the relations between the different players from the ground up.