Museums, Archives and Collecting
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Approaches to the Private Collector and Collection of Theatrical
Private Passions, Public Archives: Approaches to the private collector and collection of theatrical ephemera in the context of the public theatre archive Eve Margitta Smith Department of Drama and Theatre Royal Holloway, University of London Submitted for the degree of Doctor of Philosophy 2016 Declaration of Authorship I, Eve Margitta Smith, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: ________________________27/09/2016 [2] Abstract This thesis considers the passions of the private collector of theatrical ephemera within the context of the public theatre archive. It interrogates the formation, the function, and the significance of the collection, foregrounding the idiosyncratic relationship between the collector and their collection. The eventual, though not inevitable, transition of a theatre collection from a private house to a public archive is interrogated throughout the thesis. The research concentrates on three theatre collections that have made the transition from a private space to the public archive: the Gabrielle Enthoven Collection at the Victoria and Albert Museum; the Mander and Mitchenson Theatre Collection at the University of Bristol, and the Roy Waters Theatre Collection at Royal Holloway, University of London. Theoretical and critical approaches from the fields of theatre history and historiography, archive and museum studies, and the practice and psychology of collecting -
V&A's Collections Development
Collections Development Policy Victoria and Albert Museum 2019 Approved by Trustees Collections Committee: 10 June 2019 Review date: 10 June 2024 Contents Page: 1.Introduction 3 1.1.Governance and Statement of Purpose 3 1.2 About This Policy 3 2.Collections: Asian Department 4 3. Collections: Design, Architecture and Digital 9 4. Collections: Furniture, Textiles and Fashion Department 15 5. Collections: Museum of Childhood 23 6. Collections: Sculpture, Metalwork, Ceramics & Glass 26 7. Collections: Theatre & Performance Department 31 8. Collections: Word and Image Department 36 Appendix: Further Reading on the V&A Collections 45 2 1. Introduction 1.1. Governance and Statement of Purpose 1.1.1 The National Heritage Act, 1983, established the Board of Trustees of the Victoria and Albert Museum to care for, preserve and add items to the collections, exhibit them to the public, make them available for study/research, promote enjoyment of art, craft and design, provide education, undertake research and to preserve/increase the utility of the collections. 1.1.2 The V&A’s mission is to be recognised as the world’s leading museum of art, design and performance. And to enrich peoples’ lives by promoting research, knowledge and enjoyment of the designed world to the widest possible audience. 1.2. About This Policy 1.2.1 This Policy supports the Museum’s strategic priority to sustain and develop our internationally significant collections. It is part of the Collections Management Policy Framework, which also includes: • Collections Care and Conservation Policy, 2019 • Collections Information and Access Policy, 2019 • Loans Policy and Conditions, 2018 1.2.2 This policy defines the coverage of the V&A Collections and themes and priorities for acquisition and review, with detail for the individual collecting departments. -
Shakespeare Promptbooks LIBRARY of the UNIVERSITY of ILLINOIS at URBANA-CHAMPAIGN
JL llv Shakespeare Promptbooks LIBRARY OF THE UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN x792.9 cop. 3 REFERENCE The Shakespeare Promptbooks University of Illinois Press, Urbana and London, 1965 The Shakespeare Promptbooks A Descriptive Catalogue CHARLES H. SHATTUCK .U!UC © 1965 by the Board of Trustees of the University of Illinois. Manu- factured in the United States of America. Library of Congress Catalog Card No. 65-11737. C*V3 Preface and Acknowledgments The terminal date of this catalogue of Shakespeare promptbooks is the year 1961. But this is not the real end of it. The Festival Thea- tres of the three Stratfords, whose books I have accounted for, have already added four seasons, and presumably they will march on to the millennium, accumulating more (and ever more illuminating) rec- ords of their productions. A fourth Stratford in New Zealand has been rumored. The newly established National Theatre in England, New York's Shakespeare in the Park, and many another festival theatre yet to be created or to be professionalized, besides independent produc- tions in usual frequency, will swell the records of the future. Nor is the catalogue final for the theatre of the more remote past. Although I have combed the well-known depositories of theatrical ana and canvassed by mail several hundred libraries, museums, and histor- ical societies where older promptbooks might be stored, undoubtedly I have missed a good many. Some now in private hands will eventually drift into public collections. Some now buried unrecognized in the general shelves of library stacks, or even taken for junk and scheduled for the dustbin, may become known for what they are and be moved to prouder places. -
Designing the Body of the Actor-‐Manager, 1870
Artist, Professional, Gentleman: Designing the Body of the Actor-Manager, 1870-1900 Helen Margaret Walter Submitted in partial fulfillment of the requirements for a PhD by Thesis Awarding Body: Royal College of Art Department: History of Design Date of Submission: March 2015 Words: 79,042 2 Copyright Statement This text represents the submission for the degree of Doctor of Philosophy at the Royal College of Art. This copy has been supplied for the purpose of research for private study, on the understanding that it is copyright material, and that no quotation from the thesis may be published without proper acknowledgment. 3 Abstract In the historical record of British theatre in the latter half of the nineteenth century, the figures of London’s actor-managers are constantly present. As such, over the intervening century, they have been subjected to detailed historical enquiry by any number of different scholars in terms of their theatrical achievements, management styles, and their role in the changing nature of theatre in this period. However, despite the vast amount of extant visual material pertaining to these individuals in British, and other, collections, little attention has been paid to the image of the actor-manager in this period, and still less to the role of the body in the legacy of such figures. Given the nature of the actor’s craft as body-orientated, the explicitly visual nature of theatre in this period, and a burgeoning mass-media industry intent on the dissemination of such images, from a design history perspective this -
2 Female Networks Collecting Contacts with Gabrielle Enthoven
2 Female networks Collecting contacts with Gabrielle Enthoven Kate Dorney In her Times obituary Gabrielle Enthoven (née Romaine)1 (1868–1950) was described as an ‘archivist of the theatre’ and an amateur actor who had ‘some success as a dramatic author’.2 For Who’s Who in the Theatre she described herself as a theatre historian and dramatic author […] for many years a prominent amateur actress appearing with the Old Stagers, Windsor Strollers etc. and author of Montmartre, Alhambra 1912; Ellen Young (with Edmund Goulding), Savoy 1916; The Honeysuckle (from D’Annunzio’s play), Lyceum, New York in 1921. (Parker, 1930: 318–19) More colloquially, she was described as ‘the theatrical encyclopedia’ – initially a one-woman, one-stop shop for information on the where, when and how of theatre; by the time she died, the instigator and over- seer of the Victoria and Albert Museum’s (V&A) theatre collection.3 Persuading the museum to accept the collection was no easy task, despite Enthoven’s social and professional connections to a range of influential figures, and this chapter examines the ways in which she used her con- nections to further her work as a practitioner, collector and spokesper- son and what this can tell us about women’s influence in the theatrical sphere and in public life. It also reflects further on my motivation for excavating Enthoven from the obscurity she apparently sought. As I have discussed elsewhere, despite, or perhaps because of, her evident talents as a preserver of theatre history and as a worker for the British Red Cross’s missing persons units in the First and Second World Wars, Gabrielle Enthoven is an elusive biographical subject (Dorney, 2014a; 2014b). -
Univer%^ M Iotsrilm S International 300 N
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Collections Development Policy Victoria & Albert Museum
Collections Development Policy Victoria & Albert Museum South Kensington London, SW7 2RL January 2015 Contents Prologue: Contemporary collecting 3 1.0 Asian Department 7 1.1. Scope, history, standing and collecting 7 1.1.1. South and South-East Asia 8 1.1.2. East Asia 10 1.1.3. Middle East 11 1.2. Further Reading 13 2.0 Furniture, Textiles & Fashion Department 16 2.1. Scope, history, standing and collecting 16 2.1.1. Furniture and Woodwork 16 2.1.2. Textiles 19 2.1.3. Fashion 21 2.1.4. Contemporary Architecture & Urbanism, Product Design & Digital Design 23 (CADD) 2.2. Further Reading 24 3.0 Museum of Childhood 27 3.1. Scope, history, standing and collecting 27 3.1.1 Archive 28 3.1.2 Children’s Clothing 28 3.1.3 Dolls’ houses and Miniatures 29 3.1.4 Children’s Narratives 29 3.1.5 Play 30 3.1.6 Visual Representations of Childhood 32 3.2. Further Reading 33 4.0 Sculpture, Metalwork, Ceramics & Glass Department 34 4.1. Scope, history, standing and collecting 34 4.1.1. Sculpture 35 4.1.2. Metalwork 36 4.1.3. Ceramics & Glass 38 4.1.4 Wedgwood Collection 39 4.2. Further Reading 40 5.0 Theatre & Performance Department 43 5.1. Scope, history, standing and collecting 43 2 V&A Collections Development Policy 5.1.1 Drama/Theatre 45 5.1.2 Dance 45 5.1.3 Opera and Musical Theatre 46 5.1.4 Other performing arts 47 5.1.5 Film 48 5.1.6 Television & Radio 48 5.2. -
INFORMATION to USERS the Most Advanced Technology Has Been Used to Photo Graph and Reproduce This Manuscript from the Microfil
INFORMATION TO USERS The most advanced technology has been used to photo graph and reproduce this manuscript from the microfilm master. UMI films the original text directly from the copy submitted. Thus, some dissertation copies are in typewriter face, while others may be from a computer printer. In the unlikely event that the author did not send UMI a complete manuscript and there a re missing pages, these will be noted. Also, if unauthorized copyrighted material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re produced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each oversize page is available as one exposure on a standard 35 mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. 35 mm slides or 6" X 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. A ccessing the UMIWorld's Information sin ce 1938 300 North Zeeb Road, Ann Arbor. Ml 48106-1346 USA Order Number 8820327 The Company of Four at the Lyric, Hammersmith: A paradigm for the emergent National Theatre concept Murphy, Hugh Mack, Jr., Ph.D. The Ohio State University, 1988 Copyright ©1988 by Murphy, Hugh Mack, Jr. All rights reserved. UMI SOON. ZeebRd. Ann Arbor, MI 48106 THE COMPANY OF FOUR AT THE LYRIC, HAMMERSMITH: A PARADIGM FOR THE EMERGENT NATIONAL THEATRE CONCEPT DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Hugh Mack Murphy, Jr., B.A., M.A.