Nineteenth Century Theatre and Film

Nineteenth Century Theatre and Film is a magazine focusing on Arts

Articles from Vol. 29, No. 2, Winter

Being Jane Scott: A Personal Account by Sarah Greene
I have always relished the prospect of adventure, enjoyed the idea of risk. For about two years, I had been longing to return to my professional roots on stage - so the chance to be part of a theatrical experiment, an involved research project, was too...
Combat and Compromise: A Practical Approach to Researching Stage Fights
Practice-as-research in combat is not uncommon. Groups such as the Association for Renaissance Martial Arts (ARMA) work with combinations of padded, blunted and replica (sharp) weapons to drill and spar their way towards a practical understanding of...
Costume or Clothes? Dressing the 1815 Season at the Sans Pareil Theatre
The costume adviser's role was to find evidence of what performers might have worn during rehearsals and in actual performances in 1815, to select costumes, and justify their use to the project investigators. This was a research brief with a strongly...
Embodied History: Reflections on the Jane Scott Project
As I watched the patriotic song which opened The Inscription, the first part of the showing of work from the Jane Scott Project in July 2002,I found myself wondering about the appropriate performance of an audience member during such an event. One of...
Introduction
I have been working on Jane Scott, creator of the Sans Pareil/Adelphi, for several years - working on her from scratch, since the longest description of her work I had previously read was in Harold Scott's The Early Doors', which presented 'Miss Scott"...
Music in Melodrama: 'The Burden of Ineffable Expression'?
At the beginning of the nineteenth century, every London theatre had an orchestra, and almost every dramatic work included an element of music. Composers commonly wrote for a wide variety of 'high' and 'low' genres, from opera and ballet through to melodrama...
Reflecting the Audience: London Theatregoing, 1840-1880
Jim Davis and Victor Emeljanow, Reflecting the Audience: London Theatregoing, 1840-1880. Iowa City: University of Iowa Press/Hatfield: University of Hertfordshire Press, 2001. 299 pp. Illus. 'Studies in Theatre History and Culture' series. Ed. Thomas...
Still Working It Out: An Account of the Practical Workshop Re-Discovery of Company Practice and Romantic Performance Styles Via Jane Scott's Plays
Whose History is it Anyway?The move away from positivist histories toward new methodologies clearly informs the theoretical approach to the historically distant texts and theatre practice that we sought to explore in this project. For the rescuing of...
The Gesture and the Dance
1. The briefThe brief I was given was twofold. On the one hand, I was to recreate the "Indian" ballet that concluded Act I of Jane Scott's burletta, The Inscription; on the other hand, I was to introduce the performers to the precepts and the technicalities...
Training for Melodrama
I was invited to lead the first week's work on the Jane Scott project with a threefold brief. Firstly, I was to devise a means by which a mixed group of professional actors and drama students could come together as an ensemble. Next I was to sensitise...