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Early Photographic Attempts to Record Performance Sequence
Published online by Cambridge University Press: 23 January 2009
Extract
In a recent issue of New Theatre Quarterly an article on the visual documentation of performance notes that theatre has proved to be resistant to ‘mechanical reproduction’ and that theatre practitioners are unconvinced of its value. The author goes on, however, to argue for the ‘urgent need’ for full archives of video recordings of performances. She even quotes Eugenio Barba to the effect that what really matters in performance is not the immediate effect on the spectators, but a kind of afterglow and the impression to be made on future generations.
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References
Notes
1. McAuley, Gay, ‘The Video Documentation of Theatrical Performance’, New Theatre Quarterly 38 (05 1994), pp. 183–94.CrossRefGoogle Scholar
2. Bradbrook, Muriel, The Rise of the Common Player (Cambridge: Cambridge University Press, 1962), pp. 96–119.Google Scholar
3. Senelick, Laurence, ‘Melodramatic Gesture in Carte-de-Visite Photographs’, Theater (Spring 1987), pp. 5–13.Google ScholarMeisel, Martin's Realizations (Princeton, 1983)Google Scholar is the fullest examination of this phenomenon; see also Brooks, Peter, The Melodramatic Imagination (New Haven, 1976), pp. 12–20Google Scholar; and Senelick, Laurence, ‘Nineteenth-Century Melodrama: A Response’, Harvard Library Bulletin (Winter 1991), pp. 74–7.Google Scholar
4. McCauley, Elizabeth Anne, A. A. E. Disdéri and the Carte-de-Visite Portrait Photograph (New Haven, 1985), pp. 86–100.Google Scholar
5. In The Theatrical Photographs of Napoleon Sarony (Kent State University Press, 1978), Ben L. Bassham reproduces an uncut-sheet of cdvs of Menken as Don Leon originally published in the Photo-American for September 1894, which provides a likely sequence (p. 11, fig. 4). (Because Menken deliberately mystified her background, errors of detail creep into earlier accounts: in his biography, Wolf Mankowitz refers to Children of the Sun, a much later play by Gorky; and Bassham mistakes the series of Don Leon poses for those of Mazeppa.)
6. Hunter, Frederick J., ‘Passion and Posture in Early Dramatic Photographs’, Theatre Survey 5 (05 1964), p. 46.CrossRefGoogle Scholar
7. Quoted in Morozov, M., Vasilyj Nikolaevič Andreev-Burlak 1843–1888 (Moscow, 1948), p. 30.Google Scholar
8. See Brockhaus-Ephron, , Enciklopedičeskii slovar (St. Petersburg, 1903) XXXIX, 164Google Scholar; Jewish Encyclopedia (New York, 1909) XI, 288.
9. Illjustracii “Zapiskam” sumašedšago N. V. Gogolja. Fotografii bez” retuši snjatyia s” Moskovskago artista Andreeva-Burlaka pri ispohieniim” roli Popriščina izdanie Konstantina Šapiro (St. Petersburg, 1883).
10. At the Ermolova Museum in Moscow, there is a reproduction of a set of stereographs of Mariya Ermolova in a performance of Maria Stuart which appears to have been taken on the stage of the Maly Theatre at this period; further research into this is required, but non-cooperation from the staff of the Bakhrushin Theatre Museum has stymied attempts to see the originals.
11. Novosti 11 (11 April 1883), reproduced in Šapiro, v–xiv.
12. Nel, S.'s, Andreev-Burlak (Moscow, 1971), pp. 145–63.Google Scholar
13. See Gilman, Sander L., Seeing the Insane (New York, 1982)Google Scholar; Didi-Huberman, Georges, L'Invention de l'hystérie (Paris, 1982).Google Scholar
14. For a discussion of Bergson's ideas in fin de siècle theatre, see Senelick, Laurence, ‘Boris Geyer and Cabaretic Playwriting’, in Russian Theatre in the Age of Modernism, ed. Russell, R. and Barrati, A. (London, 1990), pp. 33–65.CrossRefGoogle Scholar