Books by Anselm Heinrich
Dr Heinrich takes Yorkshire and Westphalia as his two representative regions, detailing the histo... more Dr Heinrich takes Yorkshire and Westphalia as his two representative regions, detailing the history of theatre in York, Hull, Sheffield, Bradford and Leeds as well as in Münster, Dortmund, Hagen, Bielefeld and Bochum. Having detailed the histories and repertoires of individual theatres, he goes on to examine their social function, with interesting results. The perception of theatre in Britain changed dramatically during the War years: suddenly the British government became interested in influencing the arts and introduced state subsidies on an unprecedented scale. At the heart of the new policy was not only the belief that theatre could play an important role in the war effort (as both entertainment and education) but also a concept of municipal theatre provision which was, in effect, similar to that which already prevailed in Germany.
In Germany, despite claims by the Nazis that theatre programmes must reflect National-Socialist ideas, regional repertoires remained largely unchanged from the days of the Weimar Republic, with comedies, farces and operettas designed to appeal to public taste.
In successfully challenging dominant views regarding the alleged fundamental differences between British and German theatre, Dr Heinrich's findings mean that, to an extent, a key chapter in European theatre history must be rewritten.
This book brings together original research in theatre and the visual arts, around the common obj... more This book brings together original research in theatre and the visual arts, around the common object of a revaluation of the intersections of the theatre and visual culture. Contributors are drawn from a stimulating mix of highly-esteemed and established scholars (such as Shearer West, Jim Davis, Richard Foulkes and David Mayer) and new scholars, bringing fresh research materials into the mix.
The collection offers a set of essays around a theme of emerging interest in Victorian studies. There are few books focused on the theatre and the visual arts since Martin Meisel's Realizations. Since then, essay length pieces have been published by prominent theatre and art historians, several of whom are contributors to this work. The multi-author nature of this collection of essays allows a broader range of original material to be examined, and a number of critical approaches to be pursued. The collection is made coherent by the focus on John Ruskin's aesthetic and cultural theories, and their application to a re-evaluation of the popular theatre of the late nineteenth century. All contributors are working within a theoretical framework which challenges Modernist historiographical assumptions about a theatre in moral and aesthetic decline in this period.
Contents
Acknowledgements
Notes on contributors
Introduction: The Victorian Stage and Visual Culture; K.Newey
PART I: RUSKIN AND THE THEATRE
John Ruskin, Olympian Painters and the Amateur Stage; J.Richards
Ruskin at the Savoy; T.Hilton
Ruskinian Moral Authority and Theatre's Ideal Woman; R.Dickinson
Re-interpreting Ruskin and Browning's Dramatic 'Art-poems'; A.Leng
Ruskin and the National Theatre; A.Heinrich
The First Theatrical Pre-Raphaelite? Ruskin's Molière; A.Tate
PART II: THE THEATRE AND THE VISUAL ARTS IN THE NINETEENTH CENTURY
The Britannia Theatre: Visual Culture and the Repertoire of a Popular Theatre; J.Norwood
Supernumeraries: decorating the late-Victorian stage with lots (& lots & lots) of live bodies; D.Mayer
'A truer peep at Old Venice'. The Merchant of Venice on the Victorian stage; R.Foulkes
The Photographic Portraiture of Henry Irving and Ellen Terry; S.West
'Auntie, can you do that?' or 'Ibsen in Brixton': Representing the Victorian Stage through Cartoon and Caricature; J.Davis
Bibliography
Index
ANSELM HEINRICH is a Lecturer in Theatre Studies at the University of Glasgow, UK. Prior to this appointment, he had been the AHRC Research Associate on the 'Ruskinian Theatre' project based at Lancaster University. He is the author of Entertainment, Education, Propaganda: Regional Theatres in Germany and London between 1918 and 1945. Current research interests include theatre émigrés from Nazi-occupied Europe, contemporary German theatre and drama, and national theatres.
KATE NEWEY is Professor of Drama and Theatre Arts at the University of Birmingham, UK. She has published widely on nineteenth-century theatre, and women's writing, including Women's Theatre Writing in Victorian Britain.
JEFFREY RICHARDS is Professor of Cultural History at Lancaster University, UK, and has published widely on different aspects of Victorian culture. His most recent publications include Imperialism and Music, Sir Henry Irving: A Victorian Actor and his World and Hollywood's Ancient Worlds.
Papers by Anselm Heinrich
The Scottish Journal of Performance, 2014
Studies in Theatre and Performance, 2007
New Theatre Quarterly, 2008
New Theatre Quarterly, 2013
The Modern Language Review, Jan 1, 2009
Theatre Research International, Jan 1, 2006
New Theatre Quarterly, Jan 1, 2010
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Books by Anselm Heinrich
In Germany, despite claims by the Nazis that theatre programmes must reflect National-Socialist ideas, regional repertoires remained largely unchanged from the days of the Weimar Republic, with comedies, farces and operettas designed to appeal to public taste.
In successfully challenging dominant views regarding the alleged fundamental differences between British and German theatre, Dr Heinrich's findings mean that, to an extent, a key chapter in European theatre history must be rewritten.
The collection offers a set of essays around a theme of emerging interest in Victorian studies. There are few books focused on the theatre and the visual arts since Martin Meisel's Realizations. Since then, essay length pieces have been published by prominent theatre and art historians, several of whom are contributors to this work. The multi-author nature of this collection of essays allows a broader range of original material to be examined, and a number of critical approaches to be pursued. The collection is made coherent by the focus on John Ruskin's aesthetic and cultural theories, and their application to a re-evaluation of the popular theatre of the late nineteenth century. All contributors are working within a theoretical framework which challenges Modernist historiographical assumptions about a theatre in moral and aesthetic decline in this period.
Contents
Acknowledgements
Notes on contributors
Introduction: The Victorian Stage and Visual Culture; K.Newey
PART I: RUSKIN AND THE THEATRE
John Ruskin, Olympian Painters and the Amateur Stage; J.Richards
Ruskin at the Savoy; T.Hilton
Ruskinian Moral Authority and Theatre's Ideal Woman; R.Dickinson
Re-interpreting Ruskin and Browning's Dramatic 'Art-poems'; A.Leng
Ruskin and the National Theatre; A.Heinrich
The First Theatrical Pre-Raphaelite? Ruskin's Molière; A.Tate
PART II: THE THEATRE AND THE VISUAL ARTS IN THE NINETEENTH CENTURY
The Britannia Theatre: Visual Culture and the Repertoire of a Popular Theatre; J.Norwood
Supernumeraries: decorating the late-Victorian stage with lots (& lots & lots) of live bodies; D.Mayer
'A truer peep at Old Venice'. The Merchant of Venice on the Victorian stage; R.Foulkes
The Photographic Portraiture of Henry Irving and Ellen Terry; S.West
'Auntie, can you do that?' or 'Ibsen in Brixton': Representing the Victorian Stage through Cartoon and Caricature; J.Davis
Bibliography
Index
ANSELM HEINRICH is a Lecturer in Theatre Studies at the University of Glasgow, UK. Prior to this appointment, he had been the AHRC Research Associate on the 'Ruskinian Theatre' project based at Lancaster University. He is the author of Entertainment, Education, Propaganda: Regional Theatres in Germany and London between 1918 and 1945. Current research interests include theatre émigrés from Nazi-occupied Europe, contemporary German theatre and drama, and national theatres.
KATE NEWEY is Professor of Drama and Theatre Arts at the University of Birmingham, UK. She has published widely on nineteenth-century theatre, and women's writing, including Women's Theatre Writing in Victorian Britain.
JEFFREY RICHARDS is Professor of Cultural History at Lancaster University, UK, and has published widely on different aspects of Victorian culture. His most recent publications include Imperialism and Music, Sir Henry Irving: A Victorian Actor and his World and Hollywood's Ancient Worlds.
Papers by Anselm Heinrich
In Germany, despite claims by the Nazis that theatre programmes must reflect National-Socialist ideas, regional repertoires remained largely unchanged from the days of the Weimar Republic, with comedies, farces and operettas designed to appeal to public taste.
In successfully challenging dominant views regarding the alleged fundamental differences between British and German theatre, Dr Heinrich's findings mean that, to an extent, a key chapter in European theatre history must be rewritten.
The collection offers a set of essays around a theme of emerging interest in Victorian studies. There are few books focused on the theatre and the visual arts since Martin Meisel's Realizations. Since then, essay length pieces have been published by prominent theatre and art historians, several of whom are contributors to this work. The multi-author nature of this collection of essays allows a broader range of original material to be examined, and a number of critical approaches to be pursued. The collection is made coherent by the focus on John Ruskin's aesthetic and cultural theories, and their application to a re-evaluation of the popular theatre of the late nineteenth century. All contributors are working within a theoretical framework which challenges Modernist historiographical assumptions about a theatre in moral and aesthetic decline in this period.
Contents
Acknowledgements
Notes on contributors
Introduction: The Victorian Stage and Visual Culture; K.Newey
PART I: RUSKIN AND THE THEATRE
John Ruskin, Olympian Painters and the Amateur Stage; J.Richards
Ruskin at the Savoy; T.Hilton
Ruskinian Moral Authority and Theatre's Ideal Woman; R.Dickinson
Re-interpreting Ruskin and Browning's Dramatic 'Art-poems'; A.Leng
Ruskin and the National Theatre; A.Heinrich
The First Theatrical Pre-Raphaelite? Ruskin's Molière; A.Tate
PART II: THE THEATRE AND THE VISUAL ARTS IN THE NINETEENTH CENTURY
The Britannia Theatre: Visual Culture and the Repertoire of a Popular Theatre; J.Norwood
Supernumeraries: decorating the late-Victorian stage with lots (& lots & lots) of live bodies; D.Mayer
'A truer peep at Old Venice'. The Merchant of Venice on the Victorian stage; R.Foulkes
The Photographic Portraiture of Henry Irving and Ellen Terry; S.West
'Auntie, can you do that?' or 'Ibsen in Brixton': Representing the Victorian Stage through Cartoon and Caricature; J.Davis
Bibliography
Index
ANSELM HEINRICH is a Lecturer in Theatre Studies at the University of Glasgow, UK. Prior to this appointment, he had been the AHRC Research Associate on the 'Ruskinian Theatre' project based at Lancaster University. He is the author of Entertainment, Education, Propaganda: Regional Theatres in Germany and London between 1918 and 1945. Current research interests include theatre émigrés from Nazi-occupied Europe, contemporary German theatre and drama, and national theatres.
KATE NEWEY is Professor of Drama and Theatre Arts at the University of Birmingham, UK. She has published widely on nineteenth-century theatre, and women's writing, including Women's Theatre Writing in Victorian Britain.
JEFFREY RICHARDS is Professor of Cultural History at Lancaster University, UK, and has published widely on different aspects of Victorian culture. His most recent publications include Imperialism and Music, Sir Henry Irving: A Victorian Actor and his World and Hollywood's Ancient Worlds.