LEADER 03428nam 2200457 450 001 9910159448003321 005 20170825085139.0 010 $a1-4725-7064-2 010 $a1-4725-7063-4 035 $a(CKB)3710000001018916 035 $a(MiAaPQ)EBC4787294 035 $a(PPN)263435172 035 $a(EXLCZ)993710000001018916 100 $a20170130h20172017 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aEdith Craig and the theatres of art /$fKatharine Cockin 210 1$aLondon, England :$cBloomsbury Methuen Drama,$d2017. 210 4$d©2017 215 $a1 online resource (329 pages) 311 $a1-4725-7061-8 320 $aIncludes bibliographical references and index. 327 $aMachine generated contents note: -- List of Illustrations List of Abbreviations -- Acknowledgements Preface: A Note on Sources and More Dramatic Lives Chapter One. Introduction: Edith Craig Retrospectives Chapter Two 1869-1902 Her Mother's Daughter: The Lyceum's Apprentice Chapter Three 1903-07 The New Woman Experiments and the Genealogy of the 'Scala masque' -- Chapter Four. 1907-1914 The Art of Women's Suffrage Theatre and the 'fire of Prometheus' -- Chapter Five. 1911-25 The Pioneer Players as London's Art Theatre -- Chapter Six. 1915-25 Post-war Recreation and the Nativity Play -- Chapter Seven. 1919-46 The Little Theatre Mission: Pilgrims and Pageants -- Chapter Eight. Conclusion: On the Theatres of Art -- Bibliography -- Index. 330 $a"This new biography explores the extraordinary life of Edith Craig (1869-1947), her prolific work in the theatre and her political endeavours for women's suffrage and socialism. At London's Lyceum Theatre in its heyday she worked alongside her mother, Ellen Terry, Henry Irving and Bram Stoker, and gained valuable experience. She was a key figure in creating innovative art theatre work. As director and founder of the Pioneer Players in 1911 she supported the production of women's suffrage drama, becoming a pioneer of theatre aimed at social reform. In 1915 she assumed a leading role with the Pioneer Players in bringing international art theatre to Britain and introducing London audiences to expressionist and feminist drama from Nikolai Evreinov to Susan Glaspell. She captured the imagination of Virginia Woolf, inspiring the portrait of Miss LaTrobe in her 1941 novel Between the Acts, and influenced a generation of actors, such as Sybil Thorndike and Edith Evans. Frequently eclipsed in accounts of theatrical endeavour by her younger brother, Edward Gordon Craig, Edith Craig's contribution both to theatre and to the women's suffrage movement receives timely reappraisal in Katharine Cockin's meticulously researched and wide-ranging biography, released for the seventieth anniversary of Craig's death "--$cProvided by publisher. 606 $aTheatrical producers and directors$zGreat Britain$vBiography 606 $aActors$zGreat Britain$vBiography 615 0$aTheatrical producers and directors 615 0$aActors 676 $a792.02/33092 686 $aBIO005000$aPER018000$2bisacsh 700 $aCockin$b Katharine$f1963-$01244661 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910159448003321 996 $aEdith Craig and the theatres of art$92887137 997 $aUNINA LEADER 03478 am 2200757 n 450 001 9910416487803321 005 20190524 010 $a2-36781-315-9 024 7 $a10.4000/books.pulm.1827 035 $a(CKB)4100000010013982 035 $a(FrMaCLE)OB-pulm-1827 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/61854 035 $a(PPN)241685206 035 $a(EXLCZ)994100000010013982 100 $a20191219j|||||||| ||| 0 101 0 $afre 135 $auu||||||m|||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aVanités, compositions de la fin /$fMarie Blaise, Sylvie Triaire 210 $aMontpellier $cPresses universitaires de la Méditerranée$d2019 215 $a1 online resource (242 p.) 311 $a2-36781-288-8 330 $aLa Vanité serait-elle prise dans les effets de la fragilité et de la ­futilité de la vie humaine qu?elle dénonce ? et, forme morte hors de l?iconographie du xviie siècle, période à laquelle elle a connu son apogée, appelée à retourner en poussière?? La délestant de sa majuscule pour mieux l?appréhender, ce volume se propose de pratiquer une extension du domaine de la vanité, pour montrer qu?au contraire elle a constitué, à différentes époques, une figure rhétorique et poétique d?une grande vitalité, à même de renvoyer au lecteur/spectateur la conscience aiguë, et parfois jouissive, de sa propre dérision. Car ce ne sont pas seulement les « Vanités » qui sont en question ici, mais les vanités comme « compositions de la fin », autrement dit comme combinaisons, effets de structure. La perspective est nouvelle, dès lors qu?elle sort de l?acception générique et historique de la Vanité pour s?attacher à ses mises en forme, ses variations. Adoptant une démarche résolument interdisciplinaire, les auteurs convoquent iconographie, musicologie, littérature, stylistique, philosophie, psychanalyse, histoire et théologie pour servir la question de fond, celle d?une poétique de la vanité. 606 $aLiterature, Romance 606 $acomposition 606 $acrise 606 $afin 606 $ainterdisciplinarité 606 $asavoir 606 $avanité 610 $acrise 610 $acomposition 610 $afin 610 $asavoir 610 $ainterdisciplinarité 610 $avanité 615 4$aLiterature, Romance 615 4$acomposition 615 4$acrise 615 4$afin 615 4$ainterdisciplinarité 615 4$asavoir 615 4$avanité 700 $aBercegol$b Fabienne$0301281 701 $aBlaise$b Marie$01284152 701 $aBrenner$b Anastasios$0622632 701 $aCausse$b Jean-Daniel$01284608 701 $aClément$b Gisèle$01284609 701 $aFabre$b Isabelle$01094817 701 $aHeck$b Michèle-Caroline$0938652 701 $aLambotte$b Marie-Claude$0155615 701 $aMeyers$b Jean$0172675 701 $aPascal$b Catherine$01284610 701 $aPellegrini$b Florence$01284606 701 $aThomas$b Jean-François$01284611 701 $aTriaire$b Sylvie$0176855 701 $aVerlet$b Agnès$0388780 701 $aBlaise$b Marie$01284152 701 $aTriaire$b Sylvie$0176855 801 0$bFR-FrMaCLE 906 $aBOOK 912 $a9910416487803321 996 $aVanités, compositions de la fin$93019405 997 $aUNINA