DOCSLIB.ORG

Approaches to the Private Collector and Collection of Theatrical

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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 are consulted alongside practical archival research into the collections and personal papers of the collectors. The collector and the materials that he/she amasses are considered within a number of social, cultural, and historical contexts including: the motivations that govern the desire to collect; the social, professional, and financial networks occupied by the collector; the gender and sexuality of the collector; the role of anecdote in framing and narrating the collector and collection; the cultural capital embodied by the theatre collection, and the future of the collector and the collection in an increasingly digitised age. As the first researcher to work on the collection of Roy Waters, this thesis offers new perspectives on an under-researched area of theatre history. This interrogation of the theatre collector and collection will argue that the collector has the potential to intervene [3] in the construction of theatrical histories and narratives, and that the personal relationship between collector and collection is deserving of greater recognition and consideration. [4] Contents Acknowledgments……………………………………………………………………p. 7. Introduction…………………………………………………………………………...p. 8. Chapter One: Haunting the Past, or the Haunted Present: the collecting and creating of theatre histories……………………………………………………………………...p. 39. Chapter Two: Positioning the Collection, Locating the Collector…………………...p. 84. Chapter Three: An Accumulation of Absences…………………………….............p. 138. Chapter Four: C/collectors and C/collections Capitalised……………………….....p. 174. Chapter Five: Playbills and Pixels: the theatre collection and collector in the digital age……………………………………………………………………………….…p. 222. Conclusions: New Readings in the Archive: shifting the researcher’s gaze………………………………………………………………………………...p. 267. Bibliography……………………………………………………………….………p. 283. Appendix: an overview of the private collections and personal papers of Gabrielle Enthoven, Raymond Mander, Joe Mitchenson, and Roy Waters, and the institutions that house them……………………………………………………………..……..……p. 308. [5] List of Illustrations Gabrielle Enthoven at her flat in front of the cabinets holding her catalogued playbills, about 1909……………………………………………………………………...……p. 83. Raymond Mander and Joe Mitchenson at home with their theatre collection, circa 1970s……………………………………………....……………………………….p. 137. Roy Waters at home surrounded by his Vanity Fair prints, circa 1980s……………………………………………………………………....……….p. 173. [6] Acknowledgements First and foremost my thanks must go to Professor Gilli Bush-Bailey and Doctor Kate Dorney. Over the past three years they have challenged me, inspired me, and stretched my mind and imagination to its very limits. I must further extend my gratitude to the Arts and Humanities Research Council who recognised the potential in this project and provided the funding to make this Collaborative Doctoral Award possible. Thank you also to Doctor Sophie Nield whose objective input at annual reviews proved both invaluable and illuminating. Annabel Valentine proved to be a great source of help and welcome company during summer afternoons spent in the archives of Royal Holloway. I must thank Jo Elsworth at the University of Bristol Theatre Collection; all of the staff in the reading room and behind the scenes in the Theatre and Performance Department, V&A; Helen Baer, Bridget Gayle-Ground, Pat Fox, Doris Mohler and Michael Gilmore at the Harry Ransom Center, University of Texas at Austin; Richard Mangan; John Tuck; June Mendoza, and the TaPRA community. All have contributed to the successful completion of this thesis. My gratitude goes to Sarah Handyside, Dominic Kane, Laura McKenzie, Alison Stone, Lizzie Vogler, and Ruth Yates for their friendship, love, and laughter. My father, Carl Smith, has encouraged me, supported me, and inspired me always. He remains the first, and the original, Doctor Smith. Thank you for paving the way. Thank you to my mother, Gillian Smith, for her unconditional emotional support, comfort, and motherly love. This thesis would not be here without it. To my brother, Luke, for making me laugh. I dedicate this work to the memories of Gabrielle Enthoven, Raymond Mander, Joe Mitchenson, and Roy Waters with whom it has been both a pleasure and a privilege to spend time and get to know over the past three years. [7] Introduction This thesis considers the private passions and idiosyncrasies of the collector of theatrical ephemera, framing the collector’s private theatre collection in the context of the public archive. It seeks to interrogate the individual motivations that drive the often obsessive quest to collect the materials of the theatrical past, examining the ways in which the theatre collection is formed, created and narrated by the collector. A private theatre collection is subject to a number of different fates. It may eventually be sold, inherited by a family member or friend, broken apart and dispersed in any number of different locations, or disposed of and thrown away. This thesis concentrates on the private theatre collection that makes the transition from the collector’s home to the public archive. An interrogation of three of these collections provokes questions about the significance, purpose and expectations of the private theatre collection made public. Above all, this thesis foregrounds the collector of theatrical ephemera, providing a stage upon which the individuals that strive for a lifetime to gather up the material remains of performance can themselves perform. The collector and their private theatre collection in the context of the public archive is analysed within a number of critical and theoretical frameworks taken from academic disciplines including theatre and performance studies, museum studies, archive studies, material culture studies, and works on the theory and psychology of collecting. This thesis focuses on four British collectors of theatrical ephemera who give their names to three private theatre collections, all of which are now housed within a public archive. I examine the materials gathered by Gabrielle Enthoven (1868-1950) who campaigned for over a decade in the national press for a public home for her extensive collection. Enthoven’s collected materials were eventually accepted by the Victoria and Albert [8] Museum (V&A) in 1924 where they continue to be housed. The Gabrielle Enthoven Collection became the founding collection of the Museum’s Theatre and Performance Department. The department’s collections are now recognised as being the largest of their type in the world.1 Alongside Enthoven’s significant collection, I consider the theatre collection gathered by Raymond Mander (1911-1983) and Joe Mitchenson (1911-1992). Mander and Mitchenson engaged in a personal and public partnership that was marked and defined by their passion for the performing arts and their passion for collecting theatrical ephemera. The Mander and Mitchenson Theatre Collection (MMTC) remained at the couple’s home until 1983, at which point it was relocated to Beckenham Place Park. In 2001, after a brief relocation to the Salvation Army Headquarters in London, the MMTC was moved to the Old Naval College in Greenwich, London as a part of the Jerwood Library of the Performing Arts at Trinity College of Music. In 2010 the collection was legally transferred to the University of Bristol Theatre Collection. Finally, this thesis introduces the Roy Waters Theatre Collection (RWTC), a private collection built up over four decades by Roy Waters (1928-2010). Waters bequeathed his collection to the Royal Holloway Archives and Special Collections at Royal Holloway, University of London (RHUL) where it has been housed since Waters’s death in 2010. This collection is particularly significant within the context of my research as it includes detailed materials that demonstrate how and why Waters’s private collection came to be housed in a public archive. This thesis is the very first work to consider Waters’s collection and marks
Load more

Recommended publications
  • Museums, Archives and Collecting
    C:/ITOOLS/WMS/CUP-NEW/3241710/WORKINGFOLDER/WIKI/9780521766364C17.3D 267 [267–280] 26.7.2012 12:22AM 17 FIONA MACINTOSH Museums, archives and collecting Dionysius, the Syracusan tyrant, was an aspirant playwright and was also said to have been the proud owner of the writing tablets, desks and lyres that in the previous century had belonged to the tragedians, Aeschylus and Euripides. Some two and a half millennia later, devotees of Noel Coward are being invited to bid for a lock of Coward’s hair, attached to an interview 1 script dating from 1968. While many such objects have been cherished by fans over centuries, others have only survived on account of their neglect in public institutions: a random list might include a pair of Lydia Lopokova’s ballet shoes, David Garrick’s gloves, and, more bizarrely, the amputated leg of Sarah Bernhardt, which was recently rediscovered in the anatomical 2 collection at the University of Bordeaux. Collecting of all kinds has a long and fascinating history, and the desire to possess the relics of star performers, in particular, has resulted in a lucrative 3 trade for dealers in recent years. Many observers have pointed to the erotic impulses behind collecting – Benjamin speaks of ‘the final thrill, the thrill of 4 acquisition’ – and it is the ‘thrill’ of the chase, especially, that fuels the ardour of the collector. As Phillip Blom has noted, ‘The most important object of a 5 collection is the next one.’ And when the object itself is sexually titillating – as is the case with much ancient sculpture – there has often been a self- conscious awareness on the male collector’s part of the interrelations between the sexual pursuit of a beautiful woman and the allure and ‘penetration’ of 6 antiquity.
    [Show full text]
  • The Beauties of Lucknow: an Urdu Photographic Album
    Journal of Journal of urdu studies 1 (2020) 141-176 URDU STUDIES brill.com/urds The Beauties of Lucknow: An Urdu Photographic Album Kathryn Hansen Professor Emeritus, Department of Asian Studies, University of Texas at Austin, Austin, TX, USA [email protected] Abstract ʿAbbās ʿAlī of Lucknow published several volumes of photographs which were unique in being accompanied by text in English and Urdu. The Beauties of Lucknow (1874), an album of female performers and costumed actors from the Indar Sabhā, is attributed to him. Based on examination of the rare book in five archival locations, this article accounts for the variations among them. It distinguishes between the photographer’s authorial intentions and the agency of artisans, collectors, and others who altered the artifact at various stages. Comparison of the textual apparatus of the English and Urdu editions reveals the author’s mode of address to different audiences. The Urdu intro- duction, saturated with poetic tropes, provides insight into ways of viewing photo- graphs as formulated among the local cognoscenti. The article proposes that ʿAbbās ʿAlī’s book was meant as a private gift, as well as a publication for wider circulation. Keywords History of photography – ʿAbbās ʿAlī – Lucknow – female performers – Urdu theatre and drama 1 Introduction In 2014, a set of images from The Beauties of Lucknow, an Indian photographic album published in 1874, appeared online in Tasveer Journal from Bangalore. These photographs revived interest in early portraits of courtesans from the subcontinent, a topic of perennial fascination. The inclusion of costumed © Koninklijke Brill NV, Leiden, 2020 | doi:10.1163/26659050-12340011 142 Hansen actors from a well-known work of Urdu musical theatre, Indar Sabhā (The Assembly of King Indar), was particularly compelling.
    [Show full text]
  • City, University of London Institutional Repository
    City Research Online City, University of London Institutional Repository Citation: Pick, J.M. (1980). The interaction of financial practices, critical judgement and professional ethics in London West End theatre management 1843-1899. (Unpublished Doctoral thesis, City University London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/7681/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] THE INTERACTION OF FINANCIAL PRACTICES, CRITICAL JUDGEMENT AND PROFESSIONAL ETHICS IN LONDON WEST END THEATRE MANAGEMENT 1843 - 1899. John Morley Pick, M. A. Thesis submitted for the Degree of Doctor of Philosophy in the City University, London. Research undertaken in the Centre for Arts and Related Studies (Arts Administration Studies). October 1980, 1 TABLE OF CONTENTS Acknowledgements 4 Abstract 5 One. Introduction: the Nature of Theatre Management 1843-1899 6 1: a The characteristics of managers 9 1: b Professional Ethics 11 1: c Managerial Objectives 15 1: d Sources and methodology 17 Two.
    [Show full text]
  • Home Chat 29/07/2010 12:13 Page 1
    Aug2010_Home Chat 29/07/2010 12:13 Page 1 THE NEWSLETTER OF THE NOËL COWARD SOCIETY President: HRH The Duke of Kent Vice Presidents: Barry Day OBE • Stephen Fry • Tammy Grimes • Penelope Keith CBE AUGUST 2010 t was with surprise and sadness that the NCS committee Barbara Longford greeted Barbara Longford’s announcement that she wished Ito stand down as its chairman. For all of us Barbara’s name has become synonymous with Brief Encounter the Society and with the enormous programme of activity and events that has marked her hugely successful period as Design For Living Chairman. She has decided to move on to pursue her desire to support the work of the Soldiers, Sailors, Airmen and Coward Celebrations Families Association (SSAFA). We wish her well with her new role and commitments and celebrate her contribution to the work of the Society in our centre pages recalling the highlights of her time with us. Warmest thanks from all of us for all the fun, the style and the passion of her contribution to our hero - to: ‘The Mistress’ from all of the lovers of ‘The Master.’ BRIEF ENCOUNTER RETURNS TO BROADWAY A NOËL COWARD SOCIETY EVENING he Roundabout Theatre Company in association with David Pugh & Dafydd Rogers and Cineworld presents T Kneehigh Theatre’s production of Noël Coward’s Brief Encounter adapted by Emma Rice. The production opens at Studio 54 in New York for previews on September 10, 2010. Stephen Greenman and Barbara Longford at Sardi’s in December Following opening on September 28th there will be a limited 2005.
    [Show full text]
  • Home Chat of the Lindsay Duncan Option 1 the Full Day , Birmingham University; Lunch; Planned Arrangements
    A MAGAZINE ABOUT THE LIFE AND WORK OF SIR NOËL COWARD • NOVEMBER 2011 NOËL’S BIRTHDAY In the UK, 16th December. AGM at the Noël Coward Theatre, Richard Briers will guest at the flower-laying ceremony, luncheon at the Grand Saloon, Theatre Royal, Drury Lane - AND Rebecca Caine and Stefan Bednarczyck in cabaret. In the US On the 17th, a screening at the Paley Center, New York, of a film not previously shown, with the flower-laying ceremony and luncheon on the 18th - not to be missed! THE GRAND TOUR A day in Birmingham - 30 June 2012 to see Coward’s ballet ‘The Grand Tour’ AND visit the Coward Special Collection at Birmingham University. HAY FEVER A date for your diary - Saturday 17th March 2012 for a matinée performance at The Noël Coward Theatre. Hay Fever stars Lindsay Duncan, Jeremy Northam, Kevin McNally and Olivia Colman. - date confirmation and more to follow. STAR QUALITY The World of Noël Coward An exhibition that has toured the world reaches New York and will prove to be the most comprehensive yet! March through August 2012. Supported by a range of US Noël Coward events. Noël Coward and Kay Thompson with ‘Matelot’at Goldenhurst PRODUCED AND PUBLISHED BY THE INTERNATIONAL NOËL COWARD SOCIETY - 1- www.noëlcoward.net EDITORIAL he most exciting period in the world of Coward lies ahead of us as we move towards the end of the year and embrace 2012. Lindsay Duncan will play Judith Bliss in a new West End production of Hay Fever , the first time a Coward play has been revived in the Noël Coward Theatre since it was refurbished and renamed after him.
    [Show full text]
  • Remembering the Concentration Camps: Aleksander Kulisiewicz and His Concerts of Prisoners' Songs in the Federal Republic
    7 Remembering the Concentration Camps Aleksander Kulisiewicz and His Concerts of Prisoners’ Songs in the Federal Republic of Germany BARBARA MILEWSKl In 1960, at an international symposium devoted to workers’ songs held in Lidice, the Czech village where the infamous Nazi reprisal killings took place during the war, the East German musicologist Inge Lammel first publically urged her col­ leagues to collect and record the music of the Nazi concentration camps. In an atmosphere of Cold War politics and ideology, her plea was no doubt understood less as a call to commemorate victims of ethnic persecution than as a desire to document the valiant cultural efforts of political prisoners who had done their part to defeat fascism. As founder and director of the Arheiterliedarchiv at the Akademie der Kiinste in East Berlin and the author of numerous writings on antifascist and revolutionary songs, Lammel was already a formidable scholar whose opinion carried significant weight with the participants.' Two Polish ethnographers in attendance, Jozef Lig§za and Adolf Dygacz, heard her call and returned to Communist Poland energized to help in this international effort. With Lig^za heading up the ethnographic division of the newly established Sl^ski Instytut Naukowy,^ the scholars sent out an official national press notice requesting that survivors come forward with songs they remembered from the camps. Responses trickled in, but by far the most help­ ful correspondent was Aleksander Kulisiewicz. He had spent some five years at Sachsenhausen as a Polish political prisoner; not only had he created his own songs there, but he had also memorized many more sung by his fellow inmates.
    [Show full text]
  • Blues to Be There
    JAZZ AT LINCOLN CENTER’S ESSENTIALLY ELLINGTON LIBRARY Wynton Marsalis, Managing and Artistic Director, Jazz at Lincoln Center Blues to Be There (from Newport Jazz Festival Suite) Duke Ellington and Billy Strayhorn Arranged by Billy Strayhorn As performed by Duke Ellington and His Famous Orchestra Transcribed and Edited by Mark Lopeman for Jazz at Lincoln Center Full Score This transcription was made especially for Jazz at Lincoln Center’s 2018–19 Twenty-Fourth Annual Essentially Ellington High School Jazz Band Program. Jazz at Lincoln Center and Jazz Lines Publishing gratefully acknowledge the cooperation and support provided in the publication of this year's Essentially Ellington music series: Founding leadership support for Essentially Ellington is provided by The Jack and Susan Rudin Educational and Scholarship Fund. Major support is provided by Jessica and Natan Bibliowicz, Alfred and Gail Engelberg, Casey Lipscomb, Dr. J. Douglas White and the King-White Family Foundation, Cheryl and Louis Raspino, Augustine Foundation, Ella Fitzgerald Charitable Foundation, and Charles Evans Hughes Memorial Foundation. NOTES ON PLAYING ELLINGTON 4. In Ellington’s music, each player should express the individuality More than one on a part makes it sound more like a concert band of his own line. He must find a musical balance of supporting and and less like a jazz band. At least 95% of modern-day large ensemble jazz playing comes out following the section leader and bringing out the character of the 11. This is acoustic music. Keep amplification to an absolute minimum; of three traditions: Count Basie’s band, Duke Ellington’s band, and the underpart.
    [Show full text]
  • 20210824 Recensieoverzichtplaten69tmheden
    ARTIEST PLAAT LABEL RECENSENT NR. 1000+1 Butterfly Garden El Negocito Fluitman 224 3 Brave Souls 3 Brave Souls Challenge Korten 191 3/4 Peace 3/4 Peace El Negocito Loo, te 207 3/4 Peace Rainy Days On The Common Land El Negocito Loo, te 250 37 Fern 37 Fern TryTone Loo, te 348 3Hands Clapping Shaman Dance Juice Junk Records Korten 99 3times7 Squeeze The Lemon Eigen Beheer Hollebrandse 281 4Beat6 Plays The Music Of Benny Goodman Vol. 1 Eigen Beheer Lammen 85 4tet Different Song Leo Records Loo, te 178 5 Up High 5 Up High Timeless Fluitman 273 6 Spoons, 1 Kitchen Blend LopLop Beetz 201 6ix Almost Even Further Leo Records Loo, te 187 A A.G.N.Z. (Azzolina, Govoni, Nussbaum & Zinno) Chance Meeting Whaling City Sound Fluitman 264 Aagre, Froy Cycle Of Silence ACT Fluitman 133 Aardvark Jazz Orchestra American Agonistes Leo Records Loo, te 100 Aardvark Jazz Orchestra Evocations Leo Records Loo, te 181 Aardvark Jazz Orchestra Impressions Leo Records Loo, te 226 Abate, Greg Magic Dance Whaling City Sound Valk, de 353 Abate, Greg & Phil Woods Kindred Spirits Live At Chan's Whaling City Sound Fluitman 257 Abate, Greg & Tim Ray Trio Road To Forever Whaling City Sound Fluitman 274 Abdelnour/Schild La Louve Wide Ear Loo, te 322 Abercrombie Quartet, John Wait Till You See Her ECM Korten 128 Abercrombie Quartet, John Within A Song ECM Korten 183 Abercrombie Quartet, John 39 Steps ECM Beetz 209 Abercrombie, John The Third Quartet ECM Korten 76 Abercrombie, John & John Ruocco Topics Challenge Fluitman 90 Ablanedo, Pablo ReContraDoble Creative Nation Music Fluitman 197 Abou-Khalil, Rabih Em Português Enja Loo, te 101 Abou-Khalil, Rabih Selection Enja Loo, te 131 Abou-Khalil, Rabih Trouble In Jerusalem Enja Loo, te 150 Abrams, Jess Growing Up Challenge Huser 93 Abrams, Muhal Richard Sound Dance Pi Recordings Loo, te 161 Absolute Ensemble (ft.
    [Show full text]
  • Art at Vassar, Spring/Summer 2015
    A publication for the members of The Frances Lehman Loeb Art Center Spring/Summer 2 015 FROM THE DIRECTOR Collections and Exhibitions: A Reciprocal Relationship At many museums, including ours, a link is often sought between the permanent collection and the exhibitions that make up the temporary exhibition schedule. In this issue of Art at Vassar we feature two spring exhibitions, Through the Looking Glass: Daguerreotype Masterworks from the Dawn of Photography and Embodying Compassion in Buddhist Art: Image, Pilgrimage, Practice. These exhibitions come on the heels of XL: Large-Scale Paintings from the Permanent Collection. Each exhibition serves as a counterpart, or sometimes even a counterpoint, to the many works in our permanent installation and our rich collection in storage. Until very recently, in spite of having a very creditable photography collection, we had only a couple of daguerreotypes to show our visitors. This paucity of early photography changed with the gift last year of over fifty daguerreotypes, ambrotypes, and tintypes from Michael Mattis and Judith Hochberg. A more expansive look at the daguerreotype now makes a good deal more sense for us to present. If you think of it in musical terms, the works in the permanent collection are the jazz melody and the exhibition represents the variations on that melodic line. Thus, having a collection made the exhibition more attractive. On the other hand, with Embodying Compassion, we had a different dynamic at work. When Professor Karen Lucic came up with the idea of treating the Bodhisattva of Compassion (Avalokiteshvara in India; Kannon in Japan; Guanyin in China) we had little in the collection to support this specific idea aside from our very fineNachi Pilgrimage Mandala painting.
    [Show full text]
  • Analysis of John Weinzweig's Private
    SUSPICIOUSLY SIGNIFICANT NONSENSE: A (QUEER) ANALYSIS OF JOHN WEINZWEIG’S PRIVATE COLLECTION THROUGH LIP-SYNCED PERFORMANCE ANTHONY LOMAX A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO OCTOBER 2018 © ANTHONY LOMAX, 2018 ii Abstract This thesis presents two different analyses of John Weinzweig’s Private Collection, a group of nine songs for soprano and piano that was completed in 1975. The first analysis is text- based and draws on the existing literature, my own reading of the score, and archival research. The second is a performance-based analysis focused on a lip-synced performance of Mary Lou Fallis and Monica Gaylord’s recording of the composition, which I personally directed. I also draw upon data collected from audience surveys and performer interviews in this analysis. Here I consider various layers of performativity in Private Collection and ground my work in performance studies and queer scholarship. I argue that lip-syncing is a queer methodology that can illuminate the fragmented and multiple meanings that emerge from recorded music. iii Dedication For Andrew, my husband and friend, the only person alive for whom I would sing “Man, I Feel Like a Woman” in a leopard-print jumpsuit. iv Acknowledgements I would like to thank my supervisory committee of Louise Wrazen, Sherry Johnson, and Magdalena Kazubowski-Houston, who gave me space to create a truly unusual thesis project; Stephanie Martin and Darcey Callison, members of my defense committee; Daniel Weinzweig, who gave me permission to use photographed portions of his father’s archived score in this thesis; Darren Yearsley at the CBC archives for sending me the recording of the radio broadcast in which Private Collection was premiered; John S.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]