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Excerpt from The Art of the Victorian Stage: Notes and Recollections Experiences, contributions to journalistic literature, and from my address at the Arts Club, Manchester, on the 329th anniversary of the birth of Shakespeare. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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My mission here is simply to recall and to record personal reminiscences of some of the great men who sowed and reaped a part of that great harvest garnered during the later half of the last century. In the history of English Literature and English Art, I believe it presents a rich yield that will not soon be equalled as the fruit of an equal measure of time, and I am prepared to accept lightly enough the criticism that probably awaits me, that the heroes whom I have worshipped are no longer the heroes of to-day. -- Pg. viii.
In this creative study of history and popular culture, W. D. King ingeniously illustrates how a long-forgotten instance in theatre history can reveal the very process of historical change itself. Late in the nineteenth century, Henry Irving, the leading actor-manager of the English stage, was scathingly attacked by George Bernard Shaw for his popular performance in Conan Doyle's play, A Story of Waterloo. Shaw's review was one of the first onslaughts in a war against the old guard of the English stage, against Victorianism, against England and Empire itself. King's depiction of this event and its aftermath illuminates the period's crucial values and cultural issues, and is presented in a manner that is both convincing and highly entertaining. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1993.
During the 1820s and 30s nautical melodramas "reigned supreme" on London stages, entertaining the mariners and maritime workers who comprised a large part of the audience for small theatres. These plays mixed sentimental moments and comic interludes of domestic melodrama with patriotic images that communicated and reinforced imperial themes. However, generally the study of British theatre history moves from medieval and renaissance plays directly to the realism and naturalism of late Victorian and modern drama. Readers typically encounter a gap between Restoration and eighteenth-century plays like those of Oliver Goldsmith and Richard Brinsley Sheridan, and late-nineteenth plays by Henrik Ibsen and Oscar Wilde. Nineteenth-century drama, with the possible exception of plays by Byron, Shelley, and Wordsworth, remains all but invisible. Until recently, melodramatic plays written and performed during this "gap" received little scholarly attention, but their value as reflections of Britain’s promulgation of imperial ideology — and its role in constructing and maintaining class, gender, and racial identities — have given discussions of melodrama force and momentum. The plays included in these three volumes have never appeared in a critical anthology and most have not been republished since their original nineteenth-century editions. Each play is transcribed from original documents and includes an author biography, a headnote about the play itself, full annotations with brief definitions of unfamiliar vocabulary, and explanatory notes. Comprehensive editorial apparatus details the nineteenth-century imperial, naval, political, and social history relevant to the plays’ nautical themes, as well as discussing nineteenth-century theatre history, melodrama generally, and the nautical melodrama in particular. Contemporary theatre practices — acting, audiences, staging, lighting, special effects — are also examined. An extensive bibliography of primary and secondary texts; a complete index; and contemporary images of the actors, theatres, stage sets, playbills, costumes, and locales have been compiled to aid study further.