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This collection of essays explores the relationship between art, literature and the stage in France and Belgium in the period 1830-1910. It is the first book to bring together scholarship on this neglected area of study and provides unique insights into current research within this rich interdisciplinary field. The rise in popular theatre, the beginnings of a 'society of spectacle', the emergence of the print media and the development of stage direction and set design, along with the crisis in pictorial and literary representation, created a dynamic cultural climate wherein the interface between writing, painting and dramatic representation thrived. The chapters in this volume chart different facets of this phenomenon: from the art of performing assumed by writers and the collaborations between artists and theatre directors to the theatrical motifs that infiltrated visual art and the increasingly 'dramatized' relationship between painting and spectator at the end of the century.
Sommario
Contents: Laurence Senelick: The Offenbach Century - Karen Humphreys: Barbey d'Aurevilly and Mlle Duverger: Spectacle and Performance in the Théâtre de la Gaîté and Le Gaulois - Séverine Reyrolle : L'art marionnettique : laboratoire de la modernité dramaturgique - Arnaud Rykner : Le tableau vivant et la scène du corps : vision, pulsion, dispositif - Sandra Bornemann: Interior and Stage: Intimisme in the Work of Édouard Vuillard - Jill Fell: Paul Ranson, Alfred Jarry and the Nabi Puppet Theatres - Camille Racine : Un peintre au théâtre : les décors de George Desvallières pour le Théâtre des Arts, 1911-1913 - Katherine Hoffman: The Enchanted Early World of the Ballets Russes: Exploring Visual Arts and Theatrical Collaborations - Aude Campmas : Exposition et reconnaissance de la femme-fleur dans La Curée : variations sur les tableaux vivants, mise en scène de la stérilité - Dominique Jeannerod : Portraits de l'insaisissable : l'art et la représentation d'Arsène Lupin sur scène - Olivia Voisin : 'Spectacle dans un fauteuil' : naissance d'un genre iconographique, 1825-1840 - Claire Moran: A Play within a Play: Manet's Self-Portraits and the Art of Performance - Karen Stock: Degas and Zola: Piercing the Veil - Xavier Fontaine: The Bibliophile's Book as Theatrical Performance: Pelléas et Mélisande. Illustrated by Fernand Khnopff - Andrei Pop: Masks, Modernity and Egoism: Theatrical Practice in James Ensor and Maurice Maeterlinck - Clément Dessy: Staging and Writing the Arabesque: The Aesthetics of Line in Nabi Painting and Avant-Garde Theatre in the Late Nineteenth Century.
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Claire Moran is Lecturer in French at Queen¿s University Belfast. Her research interests lie in the relationship between art and literature in nineteenth-century France and Belgium.
