Shakespeare productions in England 1909-1932 and the visual arts: the work of Ricketts, Wilkinson, Lovat Fraser and Shelving

763 28 1853 6 2671 document 1853 Thomas10PhD.pdf application/pdf 0fa743686d02f4116ff8f345bd318f5e MD5 3871340 2011-07-19 16:22:56 http://etheses.bham.ac.uk//id/eprint/763/1/Thomas10PhD.pdf 763 1 1 application/pdf application/pdf en public

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http://eprints.org/relation/isVersionOf http://etheses.bham.ac.uk/id/document/1853 http://eprints.org/relation/isVolatileVersionOf http://etheses.bham.ac.uk/id/document/1853 http://eprints.org/relation/isIndexCodesVersionOf http://etheses.bham.ac.uk/id/document/1853 archive 4031 disk0/00/00/07/63 2010-06-18 09:56:37 2019-01-23 09:52:48 2011-07-19 16:22:56 thesis show 0 Thomas Lindsey Catherine Jackson Russell 1949- ftp://ubira.bham.ac.uk/eTheses/763_Thomas/ University of Birmingham Shakespeare productions in England 1909-1932 and the visual arts: the work of Ricketts, Wilkinson, Lovat Fraser and Shelving unpub PR PN2000 10col_artl This thesis considers the contribution made to seminal productions of Shakespeare by the stage designers Charles Ricketts, Norman Wilkinson, Claud Lovat Fraser and Paul Shelving between the years 1909-1932. It examines how each responded to the visual arts as a means of developing an individual and distinctive style in sympathy with elements of the New Stagecraft and how this in turn influenced their interpretation of scenic designs and costumes. This study foregrounds archival research as a means of understanding the ideas which informed these designers and the visual impact of their work. The Introduction discusses the extent to which the Shakespearean work of these four designers has already been given consideration. Each designer is then assessed in a separate chapter. These outline the cultural background from which they drew their inspiration and offer an analysis of their work for Shakespeare productions within this context. The productions are considered in chronological order. This facilitates an evaluation of the development of Ricketts, Wilkinson, Shelving and Lovat Fraser as stage designers and gives a perspective on their achievements and failures. The Conclusion identifies the significance of the role of the stage designer to Shakespearean productions by 1932. It comments on the legacy of these designers and the continuing importance of the visual arts in relation to the interpretation of Shakespeare on the stage. 2010-07 2009-09 graduation 2916324 eng author unchecked This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Shakespeare Birthplace Trust The Society For Theatre Research public 360 University of Birmingham School of English, Drama and American & Canadian Studies, The Shakespeare Institute d_ph FALSE other Shakespeare Birthplace Trust Jubilee Education Award Society for Theatre Research Craig Fund Award 2010-07 graduation