‘The Epitheatrical Cartoonist’: Matthew Somerville Morgan and the World of Theatre,Art and Journalism in Victorian London

This article examines the vibrant cultural milieu inhabited by one of Victorian Britain's most famous cartoonists, Matthew Somerville Morgan. Morgan is well-known as the cartoonist who attacked Queen Victoria's withdrawal from public life (and her associations with John Brown), and the lifestyle of Albert, Prince of Wales, in the short-lived rival to Punch: the Tomahawk. Likewise, his post-1870 career in New York as cartoonist of the ‘Caricature War’ over the 1872 Presidential elections, and involvement with ‘Buffalo’ Bill Cody have been well-studied. However, his involvement with the world of the 1860s Victorian stage – and the social circles in which he moved – have not been given close attention. This broader social, cultural, and economic context is essential to understanding Morgan's role as a cartoonist-critic of politics, class, gender and art in Victorian Britain. Special attention is given to the ways in which Morgan's work as a theatrical scene-painter informed his other pursuits, including his political cartoons for Fun, the Comic News and the Tomahawk. So central was the theatre to Morgan's life story that he may be appropriately described as an ‘epitheatrical’ figure. Indeed he is one of the most spectacular exemplars of the interconnected worlds of journalism, high art and theatre in Victorian London. The theatre provided him with the artistic and journalistic connections needed to raise himself above his lower-class origins; to move in ‘clubland’ and fashionable bohemian society; and to win an influential place in the key political and cultural debates of his age.     

Julie Taymor,Sony’s Digital Dream Kids,and the Marxist Labor Theory of Value

Julie Taymor is an exemplary artist who has successfully made the transition from avant-garde director of live theatre in the 1980s to become a Broadway director for Disney Corporation with The Lion King, and, more recently, a film director with Sony’s nostalgic look at the music of the Beatles in Across the Universe. Highlights of her career—spanning the latter half of the twentieth century—offer excellent examples of the changes in the economics of creativity and artistic labor for a case study in cultural and aesthetic values under global capitalism. Through interviews, newspapers and financial annual reports, specific moments in Taymor’s oeuvre reveal key distinctions between cultural and intercultural values, between aesthetic and financial exchange values, and highlight themes and limitations in the legacy of the Marxist labor theory of value.     

Darwin's Flinch: Sensation Theatre and Scientific Looking in 1872

This article explores the relationship between Darwin's The Expression of the Emotions in Man and Animals (London: Murray, 1872) and the debates surrounding audiences of sensation theatre. It takes as its starting point a flinch performed by Darwin in a self-experiment at London Zoological Gardens. Darwin's flinch combined the act of scientific observation with a self-consciously staged emotional gesture. In the 1860s and early 1870s, the passionate and demonstrative audiences of sensation plays were similarly understood to watch themselves feeling. In this economy of emotional surfaces, actors and audience were caught up in unsettling relations between outwards expression and the remote landscape of interior feeling. Entangled in this theatrical instability, Darwin's scientific observation reflected broader cultural concerns about the reliability of the emotional body. Thus the article offers Darwin's Expression as an unusual but nonetheless suggestive artefact of theatrical spectatorship in 1872, while also contributing to recent debates about the history of objectivity and its supposedly unemotional and restrained scientific observer. It argues that the technique of self-conscious emotional spectatorship, shared by Darwin and theatre audiences, constituted a distinctive model of late Victorian emotion and visuality, in which communities of spectators were also spectators of themselves.     

‘Tangled up in Blue’: The Death,Dress and Identity of an Early Viking-Age Female Settler from Ketilsstaðir,Iceland

IN 1938, a woman’s burial was uncovered by road builders at Ketilsstaðir in north-eastern Iceland. Recently, her physical remains and associated funerary goods were re-examined by an international, interdisciplinary team and formed the basis for an exhibition at the National Museum of Iceland in 2015. This paper focuses on the items of dress that accompanied the woman — born in the British Isles, but who migrated to Iceland at a very young age — to gain insights into the ways her cultural identity was expressed at the time of her death. Here we explore the roles played by material culture in signaling her identity, and the technologies and trade networks through which she was connected, visually, to Scandinavia, the British Isles, and the Viking world at large.     

Rosa e Ballo and German literature in Italy: the genesis of an intellectual network and the production of a new repertoire in the field of theatre

Between 1944 and 1950 the publishing house Rosa e Ballo renewed the Italian repertoire of German dramatic literature by collecting translations from Büchner, Wedekind, Toller, Kaiser and Brecht in the book series ‘Teatro/Teatro moderno’. The series was designed by Paolo Grassi, who was then struggling to legitimize the teatro di regia (director’s theatre) against the dominant teatro del grande attore (lead actor’s theatre), a revolution he would accomplish after WWII by establishing the Piccolo teatro in Milan. The company and the network of collaborators set up in Turin and Milan by the editor-in-chief Ferdinando Ballo provided Grassi with an ideal instrument for his subversion in the field of theatre. In turn, Grassi’s networking in Rome, where the most recognized men of theatre were based, brought to Rosa e Ballo its most successful book series and finally a position within the field of publishing. By joining forces, newcomers in two different fields mutually contributed to their primary accumulation of symbolic capital.     

Taking Direction: New Dramaturgies of Science from the Splice Symposium and the Performing Science Conference

Abstract

This short article responds to two recent conferences on performance and science: the Splice Symposium (Chimera Network/University of Notre Dame) and Performing Science (University of Lincoln). Rather than a conventional conference report, the author reflects on a selection of presentations in the light of issue one of ISR’s ‘theatre and science’ series.     

The theatre of social change: nobility,opera industry and the politics of culture in Bologna between papal privileges and liberal principles

In Bologna, after Rome the second biggest city of the Papal States, the Teatro Comunale played a major role in the city's cultural self-representation from the eighteenth century. After the Unification of Italy local politicians and the rising middle class used the theatre - together with the famous university, the Liceo musicale and the Pinacoteca - to present Bologna as one of the young nation-state's cultural capitals. A study of Bologna's opera house as a social institution highlights social, cultural and political processes and conflicts which marked the transition from the papal regime to the liberal nation-state. Bologna's nobility, which owned the theatre's prestigious private boxes, opposed the idea of democratically elected politicians and professional experts determining the fate of their theatre, the theatre which for centuries had provided the preferred backdrop for staging their social status.     

Crowds,Fenianism and the Victorian Stage

This article examines two Irish rebellion-themed plays in context of the growth of Fenianism in the months preceding the Clerkenwell explosion in order to reveal the ways that popular theatre participated in a wider public discussion about what was seen as the modern phenomenon of the crowd. The melodramatic dramas Oonagh; or the Lovers of Lisnamona (Her Majesty's, 1866) and Achora Machree; or Gems of Ould Ireland (Newcastle-upon-Tyne, 1867) were produced on the eve of one of the greatest Irish–English political crises of the nineteenth century when fears of Irish crowds, and the chaos, violence and contagion they were believed to bring, reached their peak. Both plays feature dangerously ambiguous crowds that alternately form portraits of bucolic sentimentality and forcefully express Irish dissent. This powerful ambiguity mirrors conflicting visions of crowds in this period. While dominant Victorian crowd theory characterized the crowd as a source of chaos that needed to be controlled, political movements such as Irish Republicanism used the organizational form of the crowd to create political and social change.     

Staging Japan: The Takarazuka Revue and Cultural Nationalism in the 1950s–60s

In the 1950s and 1960s, the modern Japanese state employed overseas cultural promotion as a way to maximise its interests and image not only in international contexts but also at home. By juxtaposing the Takarazuka Revue’s performances in the United States and Japan during the postwar period, this paper argues that the overseas promotion of this Japanese theatre troupe both depended upon and reinforced the Japanese populace’s nationalistic pride in its culture. The paper also addresses the ways in which the Japanese government used Takarazuka’s theatrical presentations as a means of pursuing its domestic and diplomatic agendas: improving Japan’s international position by proposing shared aspects of popular culture with the US and increasing its sense of nationalism by propagating cultural pride. In doing so, the paper explicates the ways in which Japanese popular cultural considerations interfaced with political concerns in the shaping of postwar Japan’s national identity.     

Beauty,Bath and Beyond: Framing Bathsheba as a Royal Fantasy in 2 Sam 11,1-5

This paper investigates the function of beauty in David and Bathsheba’s encounter in 2 Sam 11,1-5. It argues that the female bather’s pleasant appearance, rather than simply kindling king David’s desire, focalizes the woman as sexually available (and vulnerable) and wraps the whole episode in a royal fantasy of shared intimacy. The focus on Bathsheba’s beautiful body—her wash, her motion towards the king, her self-sanctification and her pregnancy—frames the episode in a very erotic way, suggesting adultery. It conceals the sexual violence committed by the king who sends, takes and sleeps with the woman. David’s violent entitlement to Bathsheba reveals the beauty politics at play in his royal House.     

The Darkest Corner: documenting institutional abuse and its consequences at the Abbey Theatre

Documentary theatre, as a theatrical genre, has not maintained a continuous presence in Irish theatre. The Darkest Corner series, produced in 2010 by the Abbey Theatre, Dublin, Ireland's National Theatre is, therefore, one of the first examples of Irish theatre using the genre to address political and social issues. Presenting three plays, Gerard Mannix Flynn's James X, Richard Johnson's The Evidence I Shall Give and Mary Raftery's No Escape, the series examines the widespread abuse of children in state institutions. Before analysing the documentary play commissioned by the Abbey, Raftery's No Escape, this article will begin with an exploration of documentary theatre in Ireland. It will then examine the material used for the play, the Ryan Report, published following the Commission to Inquire into Child Abuse, something of great political and social interest to contemporary Ireland and, finally, the play itself.     

THE CREATIVE LANDSCAPE OF THEATRE–RESEARCH COOPERATION: A CASE FROM TURKU,FINLAND

This article continues the discussion on creativity in human geographical research. Drawing on Alain Badiou's writing on “two theatres”, I argue that the theatre–research cooperation as a landscape in motion can bring about creative landscapes. In this article, I discuss a collaborative project of participatory research and theatre that tested drama as a tool for urban planning. In the beginning of the project, theatre appears as a tool of inclusive exclusive politics: the research aims to deal with inter‐cultural relations in a hypothetical planning situation and, further, on theatre's potential to motivate those who usually do not participate in planning. Thus, this initial setting is the first theatre in which the elements of a constellation are seen as static. However, during the process, there were moments of doubt, dealing with the representational politics of multiculturalism. Contrary to Badiou's first theatre, in the second theatre the elements are vivid and capable of breaking the state of a situation. This rupture occurs in the second theatre w hen the spectators feel uncomfortable in their seats, or here when the participatory researcher feel their aims generate an inconvenience. It is in the event that theatre changes from being of the state to saying something about the state. This change represents a rupture in thinking, and brings forth the creative landscape of the theatre–research cooperation.     

Performing Science (Not Ethics) in Analogue’s 2401 Objects

Abstract

The postdramatic theatre is explored as an alternative ethics of re-presentation in 2401 Objects by Analogue in relation to its stance on medicine and the neurosciences and to theatrical representation. The dual characters Henry Molaison/Patient HM are deconstructed as objects and the presentation of memory is deconstructed as an embodied but intangible artifact of performance. How Analogue ‘frame’ HM’s doctors and their own performance through the metaphor of the cryomicrotome and the Project HM of the Brain Observatory as a performance in its own right is examined.     

Seeds: Contracting the Audience in a Play about Science

Abstract

In pursuing the question ‘what can scientists learn from theatre?’ Particularly, ‘what can scientists, as scientists, learn from theatre?’ this paper argues that science lacks a normative framework that theatre is capable of providing. Despite science’s well-earned epistemic reputation, there is adequate reason to question its ethical reputation, particularly at the point where cutting edge scientific technology impacts society. I consider science as operating in four categories: the scientific method; the scientific hypothesis; the scientific experiment; and the scientist’s personal character. The realms of the scientist’s hypothesis and personal character are those where social pressures are reciprocally exerted, where imaginative play mentality and epistemic values are most in evidence. Theatre can examine these realms effectively because it is able to use narratives that appeal not only to logical and social moral judgements but to emotional and visceral responses, so as to situate science in the social context in which the pressures of law, funding, experimentation, society, and personal ambition converge in ‘the game of life’.

This can be seen in the theatrical process known as ‘contracting with the audience’. I point out a spectrum of traditional narrative tropes by which science makes “contracts with” audiences. The paper draws on theories of entrainment and theatrical game-play from Peter Stromberg and Philippe Gaulier, as well as my own practice and research into the process of contracting with the audience, to propose how to reach beyond tradition and to shift normalising contracts “outside the box”. To illustrate my proposition, I examine the play Seeds by Annabel Soutar as directed by Chris Abraham for Crow’s Theatre and Theatre Porte Parole. Seeds follows the controversial court battles of Saskatchewan farmer Percy Schmeiser against agricultural-biotech corporation Monsanto, which sued him for patent infringement of its Genetically Modified Organism Roundup Ready Canola. Seeds helps its audience define a public arena for discourse even as it brings to our attention the factors that make this difficult to do, while making an excellent contribution to the genre of ‘Documentary Theatre’. It is a successful contract with the audience that creates a public forum for discussion about contemporary ethical debates in science, thereby merging artistic ambiguity and scientific theory.     

Cartografía emocional entre la China y la Gloria: Agustín de Foxá, Víctor Ruiz Iriarte y la Modernidad

Both Agustín de Foxá and Víctor Ruiz Iriarte premiered their first plays very near the end of the Spanish Civil War in 1939. The two playwrights appear to belong to the same imaginative and poetical vein, but in fact Foxá yearns for an impossible return to an idealized past, in a pessimistic lamentation against Modernity—that is, precisely, his exotic drama Cui-Ping-Sing. The poetical theatre Ruiz Iriarte endorses in Un día en la Gloria, and thinks apt to Modern times, is based in a radical optimism—the idea that fantasy can always transform and improve a disappointing reality.     

Streaming from stage to screen: its place in the cultural marketplace and the implication for UK arts policy

Live streaming of stage performances by opera and theatre companies into cinemas, and increasingly into the home, continues to grow rapidly. What the cinema audience hears and sees differs qualitatively both from what is seen in the theatre and also from what is normally available in cinemas. The ‘real-time liveness’ offered by leading companies appears to be an important attraction, though may diminish as the novelty of streamed performances wears off. The cinema audience is both socio-demographically and in cultural experience more similar to the theatre audiences than to typical cinema audiences, giving rise to suggestions that streaming might cannibalise the live audiences of the transmitting theatres, but there is no evidence of this, nor, at least in the UK, to support speculation that streaming reduces audiences for regional arts companies. Streaming should therefore be welcomed as broadening the number of consumers who can benefit from arts subsidies.     

Contemporary Irish theatre,the new Playboy controversy,and the economic crisis

Abstract

This article examines the impact of the economic crisis on contemporary Irish theatre. More specifically, I contend that the legal controversy surrounding Bisi Adigun and Roddy Doyle’s second production of Playboy of the Western World: A New Version in 2008 provides a case study of how professional theatre productions that dramatised stories of immigrant empowerment during the Irish economic boom were profoundly inhibited by the bust that followed. Their collaborative version of the new Playboy was widely regarded as Ireland’s most successful intercultural play and a commercial success when it was first staged at the Abbey Theatre in 2007. The subsequent breakdown in their relationship and ensuing legal dispute is more symptomatic of Celtic Tiger Ireland in economic collapse, I suggest, than the content of the play itself, or most other productions mounted in the period. I argue that this dispute did not simply reflect but also reinforced the social effects of the economic crisis, through its prolonged litigation, enormous expense, and especially the missed opportunity that it represented to position the multicultural and migrant themed Playboy within the Irish theatrical mainstream. More broadly, I suggest that the economic crisis has been marked by the disappearance of immigrants from the professional Irish stage, a void which was only partially filled by community theatre productions. A case in point is Adigun and Arambe’s most recent adaptation of Jimmy Murphy’s The Kings of the Kilburn High Road in The Paddies of Parnell Street (2013), a play which I positively appraise as an example of successful “intercultural re-appropriation”.     

Writing from the margins: Marina Carr's early theatre

This article analyses Marina Carr's first four plays: Low in the Dark (1989), The Deer's Surrender (1990), This Love Thing (1991) and Ullaloo (1991). It aims to show how Carr seeks to eschew the mimetic conventions of what can be seen as a dominant, patriarchal theatre establishment, marking (and possibly maintaining) her marginal position as a theatre-maker at the time. I argue that Carr, at this point in her career, was engaged in distinctly feminist theatre practices. Materialist feminist discourse provides a useful framework for understanding what the emergent dramatist was trying to achieve and the meaningful possibilities of her work. A study of this phase of Carr's career, encompassing all four works preceding The Mai, has not been offered in research on the dramatist to date. In addition to expanding the history of feminist theatre practice in Ireland, it promotes an enriched understanding of Carr's theatre as a whole.