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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2000.11
- 수록면
- 53 - 65 (13page)
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Shakespeare's plays have always been reinterpreted on stage from a contemporary point of view. The Victorian theatre was no exception. In a way the Victorian theatre witnessed the most drastic change in staging Shakespearean plays, due to the newly found respectability of Shakespeare as the cultural center of Victorian England. Shakespearean directors were required to bring respectability to productions with restored original texts and spectacular, pictorial realism. The Victorian stage was "the territory of melodrama," too. The Victorians' polarized world view and their craving for all kinds of spectacles made melodrama the most popular theatrical genre of the time. The enormous popularity of melodrama inevitably influenced Shakespearean productions. The work of Henry Irving as an actor-manager at the Lyceum for the last two decades of the nineteenth century seems to be the most fitting example to trace the influence of melodramatic conventions on the Victorian Shakespearean productions, for Irving exclusively staged melodramas and Shakespearean plays, and received both critical and popular success in staging them.
This paper explores the influence of melodramatic conventions on Victorian Shakespearean productions and illuminates Irving's contributions to Victorian Shakespearean productions and theatre in general, by recontextualizing Henry Irving's production of King Richard III. Irving as an actor and director anticipated the advent of theatrical realism by uniquely managing to bring together spectacular, pictorial Shakespearean production with mature psychological study of the characters which grew out of his practice in numerous productions of nineteenth century melodrama. His productions achieved a kind of artistic unity which only became possible with the arrival of modem directors. Henry Irving left his legacy of psychological realism and theatrical illusionism for future Shakespearean productions.
This paper explores the influence of melodramatic conventions on Victorian Shakespearean productions and illuminates Irving's contributions to Victorian Shakespearean productions and theatre in general, by recontextualizing Henry Irving's production of King Richard III. Irving as an actor and director anticipated the advent of theatrical realism by uniquely managing to bring together spectacular, pictorial Shakespearean production with mature psychological study of the characters which grew out of his practice in numerous productions of nineteenth century melodrama. His productions achieved a kind of artistic unity which only became possible with the arrival of modem directors. Henry Irving left his legacy of psychological realism and theatrical illusionism for future Shakespearean productions.
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