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Bram Stoker, Dracula and the Victorian gothic stage [electronic resource] /
Catherine Wynne, University of Hull, UK.
imprint
Houndmills, Basingstoke, Hampshire ; New York, NY : Palgrave Macmillan, 2013.
description
ix, 195 pages : illustrations ; 23 cm.
ISBN
9781137298980 (hardback)
format(s)
Book
More Details
imprint
Houndmills, Basingstoke, Hampshire ; New York, NY : Palgrave Macmillan, 2013.
isbn
9781137298980 (hardback)
restrictions
Licensed for access by U. of T. users.
catalogue key
11570272
 
Includes bibliographical references (pages 177-188) and index.
A Look Inside
About the Author
Author Affiliation
Catherine Wynne is Senior Lecturer in English at the University of Hull, UK. She is editor of Bram Stoker and the Stage: Reviews, Reminiscences, Essays and Fiction (2012), author of The Colonial Conan Doyle (2002) and co-editor (with Sabine Vanacker) of Sherlock Holmes and Conan Doyle: Multi-Media Afterlives (2012).
Summaries
Bowker Data Service Summary
Bram Stoker worked in the theatre for most of his adult life, as theatre reviewer in Dublin in the 1870s and as business manager at London's Royal Lyceum Theatre in the final two decades of the 19th century. Despite this, critical attention to the influence of the stage on Stoker's writing has been sparse. This book addresses this lacuna, examining how Stoker's fictions respond to and engage with Victorian theatre's melodramatic climate and, in particular, to supernatural plays, Gothic melodramas and Shakespearean productions that Henry Irving and Ellen Terry performed at the Lyceum.
Long Description
Bram Stoker worked in the theatre for most of his adult life, as theatre reviewer in Dublin in the 1870s and as business manager at London's Royal Lyceum Theatre in the final two decades of the 19th century. Despite this, critical attention to the influence of the stage on Stoker's writing has been sparse. Bram Stoker, Dracula and the Victorian Gothic Stage addresses this lacuna, examining how Stoker's fictions respond to and engage with Victorian theatre's melodramatic climate and, in particular, to supernatural plays, Gothic melodramas and Shakespearean productions that Henry Irving and Ellen Terry performed at the Lyceum. Bram Stoker, Dracula and the Victorian Gothic Stage locates the writer between stage and page. It reconsiders his literary relationships with key actors, and challenges the biographical assumption that Henry Irving provided the model for the figure of Count Dracula.
Table of Contents
List of Illustrationsp. viii
Acknowledgementsp. ix
Introduction: Setting the Scenep. 1
Stoker, Melodrama and the Gothicp. 12
Irving's Tempters and Stoker's Vanishing Ladies: Supernatural Production, Mesmeric Influence and Magical Illusionp. 41
Ellen Terry and the 'Bloofer Lady': Femininity and Fallennessp. 78
Gothic Weddings and Performing Vampires: Geneviève Ward and The Lady of the Shroudp. 107
The Lyceum's Macbeth and Stoker's Draculap. 131
Conclusionp. 161
Notesp. 171
Bibliographyp. 177
Indexp. 189
Table of Contents provided by Ingram. All Rights Reserved.

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