The Aquarist
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
A Walking Tour of Sir Arthur Sullivan's London
A Walking Tour of Sir Arthur Sullivan’s London AUTHORS: Theodore C. Armstrong 2015 Connor M. Haley 2015 Nicolás R. Hewgley 2015 Gregory G. Karp-Neufeld 2014 James L. Megin III 2015 Evan J. Richard 2015 Jason V. Rosenman 2014 ADVISOR: Professor John Delorey, WPI SPONSORS: Sir Arthur Sullivan Society Robin Gordon-Powell, Liaison DATE SUBMITTED: 20 June 2013 A Walking Tour of Sir Arthur Sullivan’s London INTERACTIVE QUALIFYING PROJECT WORCESTER POLYTECHNIC INSTITUTE AUTHORS: Theodore C. Armstrong (CS) 2015 Connor M. Haley (BME) 2015 Nicolás R. Hewgley (BBT/TH) 2015 Gregory G. Karp-Neufeld (MIS) 2014 James L. Megin III (CS) 2015 Evan J. Richard (RBE/ME) 2015 Jason V. Rosenman (ECE) 2014 ADVISOR: Professor John Delorey, WPI SPONSORS: Sir Arthur Sullivan Society Robin Gordon-Powell, Liaison DATE SUBMITTED: 20 June 2013 Abstract The Sir Arthur Sullivan Society seeks to educate the public on the life and works of Sir Arthur Sullivan, a 19th-century composer. This project researched the ideal components of, and implemented, a brochure based walking tour of Sir Arthur Sullivan’s London. Additional research into other walking tour formats was conducted. Additionally cultural research of London was also conducted. i Table of Contents Introduction ..................................................................................................................................... 1 Background ..................................................................................................................................... 3 The Sir Arthur Sullivan -
A World of Popular Entertainments
A World of Popular Entertainments A World of Popular Entertainments: An Edited Volume of Critical Essays Edited by Gillian Arrighi and Victor Emeljanow A World of Popular Entertainments: An Edited Volume of Critical Essays, Edited by Gillian Arrighi and Victor Emeljanow This book first published 2012 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2012 by Gillian Arrighi and Victor Emeljanow and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-3730-X, ISBN (13): 978-1-4438-3730-9 TABLE OF CONTENTS List of Images........................................................................................... viii Introduction ............................................................................................... ix Part 1: Marvels and Wonders Chapter One................................................................................................. 3 Aboriginal Dance, Military Drill: Captain MacDonald’s Trained Indians and 19 th -Century Variety Entertainment Jerry Wasserman Chapter Two .............................................................................................. 17 The “Fatima” Illusion: Technology, Show Business -
This Is an Accepted Manuscript of an Article Published by Taylor
This is an Accepted Manuscript of an article published by Taylor & Francis in London Journal on 10/12/19, available online: https://www.tandfonline.com/doi/full/10.1080/03058034.2019.1699337 1 ‘Covered Promenades for Wet Weather’: London’s Winter Gardens and People’s Palaces, 1870-1900 Penny Sparke, Modern interiors Research Centre, Kingston University Abstract This essay explores the interior spaces of three nineteenth-century, London-based, large-scale, multi-functional, public leisure centres – the Alexandra Palace, the Royal Aquarium and Summer and Winter Gardens, and the People’s Palace. Thanks to the possibilities of iron and glass, and the model provided by the Crystal Palace, the new buildings were constructed from the 1870s onwards, offering a new building type and providing London’s working-class population with the recreation that the earlier open-air Pleasure Gardens had offered the aristocracy and the middles classes, albeit indoors. A mixture of entrepreneurialism and social reform drove the development of the new venues. This article seeks to unpack the complex interior spaces of these new buildings, focusing on the components they had in common, among them winter gardens, great halls and ice-skating rinks. The tensions that arose from the attempts, made in all three centres, to combine high cultural educational offerings with more popular passive entertainment are explored, as are the experiences of the visitors. The conclusion briefly considers the legacy of nineteenth-century winter gardens and people’s palaces in the -
Cannonballing Into Tar Matthias Leutrum
ARAS Connections Issue #3 2013 In order to best view this paper and its video content, please download this PDF and open it in Acrobat Reader. Job’s Despair by William Blake Cannonballing into Tar Matthias Leutrum The images in this paper are strictly for educational use and are protected by United States copyright laws. Unauthorized use will result in criminal and civil penalties. 1 ARAS Connections Issue #3 2013 I have divided this presentation into three parts. To begin, I will introduce the human cannonball theme and some of my paintings that are based upon it. In the sec- ond part I will give a condensed history of the human cannonball act and talk about how that history connects to my current understanding of the subject. And to conclude, we’ll take a look at how the cannonball theme has evolved in my most recent work. Four years ago I came across this image in the arts section of the New York Times and was immediately stopped in my tracks. I had never been a big circus kid growing up and this photo was my very first introduction to the whole phenomenon of human can- nonballs. What struck me immediately was the spectacle of these two figures being pro- pelled into space at the same time as they were suspended in the frozen frame of the photograph. This contradictory tension carried a wealth of visual possibilities. And with every-one of those possibilities came questions. Figure 1 New York Times article I began addressing some of these questions by working on a painting drawn di- rectly from the source image. -
Online Finding
Dramatic Museum -- Ephemera [ca. 1750]-1970. 7 series. Material on Microfilm: 317 Posters filmed on 157 microfiche ( funded by the New York State Program for the Conservation and Preservation of Library Research Materials). Restriction on Use: Readers must use the fiche copies of posters, in draper A fj^f/ on bctlcotg ,o d^r Summary: A collection of prints, photographs, pamphlets, clippings, playbills, and programs dealing with the theater, chiefly American and English, in all its aspects including drama, opera, dance, movies, puppets, and spectacles. The majority of the material documents the 19th century. This collection is divided into seven series: Portrait file; Subject file; Program file; Scrapbook file; Playbill file; Poster file; and Lantern slides file. Finding Aid: List of Program File, Playbills, and Posters. 33 pages. Source: Transferred from Brander Matthews Dramatic Museum, 1971 (numerous cabinet photographs were gifts from Edna Elliot and Alex Waugh from the estate of Dr. James Randolph Miller). Series Descriptions: Portrait File: Prints and photographs of actors, actresses, playwrights, composers, opera stars, movie stars, dancers and other performing artists. The portraits are arranged by name in three groups. 1) Prints and Photographs [60% American; 40% English and others] 2) Cabinet Photographs [75% American; 25 % English and others] 3) Carte de Visite Photographs and Prints [90% American; 10% English and others] (ca. 34,500 items) Finding Aid: Card Catalog of Names And Locations. v Subject File: Clippings, pamphlets, programs, prints, and photographs arranged by name and subject. Included are many prints and photographs of scenes from plays. There are extensive files on Shakespeare and Moliere. -
Appendix A: Child Actors in Lewis Carroll's Diaries and Letters
Appendix A: Child Actors in Lewis Carroll's Diaries and Letters Abbreviations: D Diaries, ed. Edward Wakeling; L Letters, ed. Morton Cohen Adams, Ada often called Addie, stage name Ada Blanche. Whittington and his Cat, Avenue Theatre, 1883. ' ... was an excellent Whittington: she has real talent' (D.7.504, L372, n. 1) Adeson, C. (a boy), Pirate King in The Pirates 0/ Penzance, Savoy, 13 January 1885 (D.8.l61); Cheshire Cat in Alice in Wonderland, Prince of Wales's, 30 December 1886 (D.8.311) Arding [no first name] 'looks about 2 years old, is marvelous in her self-posses sion' Act II, Bootie's Baby, 2 July 1888 (D.8.405) Arnold, Blanche Alice in Whittington and his Cat, Avenue Theatre, 1 January 1883 (D.7.504) Arnold, Julia Fairy Godmother in Cinderella at the Parkers, 24 April 1873 (D.6.275, L209, L382) Barrie, Katie Oberon in Ben Greet's open air Midsummer Night's Dream, Devonshire Park, 13 August 1888 (D.8.417) Bateman, Jessie (1877-1940) 'a very pretty page' in The Merchant o/Venice, The Devonshire Theatre, 17 August 1892 (D.9.21) Bateman Children, Kate Josephine b. 1842, Isabel b. 1844 (U98-9, n. 3) Beringer, Vera (b. 1879) Lord Fauntleroy in The Real Little Lord Fauntleroy, 'wonderful naturalness and spirit' 18 June 1888 (D.8.400-01); 'losing her spirit and naturalness' 10 January 1889 (D.8.442); 4 July 1888 calls on her home then on Savile Clarke to discuss revival of Alice with 'either Vera or Isa [Bowman] as hero ine' CD.8.408) Bowman, Charlie b.1876 White Rabbit in Alice, Globe, 3 January 1889 (D.8.439), brother to Emma, Isa and Nellie Bowman, Emma b. -
Anselm Heinrich
Theatre Survey 52:1 (May 2011) # American Society for Theatre Research 2011 doi:10.1017/S004055741100007X Anselm Heinrich WILLIAM GLADSTONE AND THE THEATRE William Ewart Gladstone, four times prime minister (1868–74, 1880–5, 1886, and 1892–94), the “greatest colossus of the Victorian Age,”1 the most influential prime minister of the nineteenth century, and the Grand Old Man (G.O.M.) of British politics and statesmanship, seems an unlikely advocate for the theatre. Deeply religious, conservative, and serious, Gladstone is not easily imagined as an avid theatregoer. It is difficult to imagine him supporting the ephemeral, often subversive, and suggestive character of the theatre. And indeed, in his early years Gladstone despised the theatre and called it an “encouragement of sin.”2 As prime minister, he was almost obsessed by a religious zeal; Richard Foulkes has noted that “Few, if any, prime ministers have carried out their role in making senior Church appointments as assiduously as Gladstone did.”3 For members of Victorian Britain’s Christian majority, the theatre was anathema and regarded as morally suspect. They were intensely suspicious and saw playgoing as a distraction from religion and as a promoter of frivolity, vanity, and female forwardness.4 They linked theatres to “prostitution, juvenile delinquency, idleness, drunkenness and frivolity.” In fact, theatres were the “antithesis of the Dr. Anselm Heinrich is Lecturer in Theatre Studies at the University of Glasgow. Prior to this appointment, he was the Arts & Humanities Research Council research associate on the Ruskinian Theatre project at Lancaster University. He is the author of Entertainment, Education, Propaganda: Regional Theatres in Germany and Britain between 1918 and 1945 (2007) and coedited (with Katherine Newey and Jeffrey Richards) Ruskin, the Theatre and Victorian Visual Culture (2009). -
Circus Show of Shows Exhibition Guide
What is Circus Today? Explorations through 250 Years of British Circus by Professor Vanessa Toulmin In the Beginning In 1768 a uniquely British invention created from entertainment popular in late Georgian London was born. The innovator was Philip Astley who with his wife Patty, a gifted equestrienne, and his horse Gibraltar, gave riding displays at Glover’s ‘Halfpenny Hatch’ between Neptune and Angel Streets in April 1768. On this site Mr and Mrs Astley developed scenes of horsemanship and later incorporated older forms of entertainment such as acrobatics, performers from the street and clowns to draw the crowds. It was this combination of speciality skills that developed into the circus entertainment we recognise today.1 As we celebrate 250 years from when modern circus combination of performance genres within a ring was created, the narratives and histories that are of a set diameter quickly became global and being revealed, especially in the United Kingdom, by the early nineteenth century circus could be demonstrate the complex and global history of the found in thirteen different countries including the genre that is circus; an evolving language of visual United States in 1793, Canada in 1797, Mexico in and physical performance.2 The Astleys settled at 1802, Russia in 1816. Within the European and Westminster Bridge Road where initially they used an North American traditions evolutions in popular open-air circular arena, then built a partially covered entertainment from the music hall to the menagerie ‘amphitheatre’ styled ‘Astley’s British Riding School‘ tradition of previous centuries played a key part which opened in 1770. -
Actresses As Working Women: Their Social Identity in Victorian Culture
ACTRESSES AS WORKING WOMEN Victorian performers were drawn from various class backgrounds and enjoyed a unique degree of social mobility. Nevertheless, the living and working conditions of female performers were very different from those of their male colleagues. Their segregation and concentration in low-status jobs, like dancing, guaranteed economic insecurity. Actresses’ attempts to reconcile sexuality and the female life cycle to a physically demanding, itinerant occupation while under constant public scrutiny led to assumptions about their morality—assumptions that were constantly reinforced by theatrical conventions which reflected popular pornographic images. This is an important book that brings fresh perspectives to bear on nineteenth-century theatre. It will be of interest to a wide range of specialists including historians and feminist critics. Tracy C.Davis is Assistant Professor in Theatre and English at Northwestern University. She has written numerous articles on Victorian theatre and is co-editor of Routledge’s Gender and Performance Series. GENDER AND PERFORMANCE Series Editors Tracy C.Davis and Susan Bassnett Gender and Performance is a new series that reflects the dynamic and innovative work being done by feminists across the disciplines. Exploring both historical and contemporary theatre, the series seeks to understand performance both as a cultural and as a political phenomenon. Key issues discussed will include conventions of representation, the politics of the theatre industry, the constructions of gender affecting professionals’ working and personal lives, changing interpretations of gender and the contributions of women to theatre history. ACTRESSES AS WORKING WOMEN Their social identity in Victorian culture Tracy C.Davis London and New York First published 1991 by Routledge 11 New Fetter Lane, London EC4P 4EE This edition published in the Taylor & Francis e-Library, 2002. -
Aubrey Beardsley's Inages of New Ren in T1 Ye11c Q Book
Aubrey Beardsley's Inages of New ren in t1 Ye11c q Book Ph.D Thesis History of Art University College Lordon Bridget Jane Elliott June 1985 Abstract The nuch publicized debate surrounding Beardsley 's illustrations for the first four volurres of the Yellow Book is analyzed as a manifestation of the ongoing debate over the 'Wcxnan Question'. The tirre fraire investigated spans the Bodley Head's launching of the magazine in April 1894, until Bearc3sley was fired as art editor the following april because of his connections with Oscar Wilde, whose sensational trial preoccupied the London media. With few exceptions (27 cxt of 31), Beardsley s illustrations for the Yellow Book were pictures of waren which the magazine 's reviewers, buyers and readers tended to identify with the anancipated 'New Wnan - of the nineties. This concept of the 'New Wanari' who dnanded cultural and social uality with man, is first examined in relation to the feninist noverrent and the social status of xren during the l890s. Then various literary, theatrical, and journalistic representations of 'advanced' nen are carpared to prevailing stereotypes of 'natural' or 'normal' females. The predaminantly middle-class interest in both the 'Wcxnan Question' and the Yellow Book is discussed as important parts of newly rerging alternative posions which were rapidly fragmanting the literary market-place. Much of the , utrage surrounding Beards ley 's pictures is attributed to the factthe quarterly was unexpectedly purchased by a new catgegory of unsuspecting, middle-class consurrers who had previously borrowed most of their reading material frait the carefully vetted lists of circulating libraries. -
View the Details As a Downloadable
PENNY GREEN’S LONDON A guide to the locations in the Penny Green Victorian Mystery Series © Emily Organ 2019 Image: The Museum Tavern, Bloomsbury Image © Emily Organ 2 Table of Contents Central London ............................................................................................................ 5 Reading Room, The British Museum, Bloomsbury ...................................................................................... 5 The Museum Tavern, Bloomsbury ..................................................................................................................... 5 Russell Square, Bloomsbury .................................................................................................................................. 5 Midland Grand Hotel, King’s Cross ..................................................................................................................... 6 Euston Station ............................................................................................................................................................. 6 Theatre Royal, Drury Lane, Covent Garden .................................................................................................... 6 Fleet Street .................................................................................................................................................................... 7 Ye Olde Cheshire Cheese, Fleet Street ............................................................................................................... 7