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Gothic as a genre has become more amorphous and difficult to contain. This book brings together for the first time many of the multifarious visual motifs and media associated with Gothic together with areas that have never received serious study or mention in this regard before. It draws attention to an array of dark artefacts such as Goth and Gothic jewellery, dolls, posters and food, which, though part of popular mass marketing, have often been marginalised and largely omitted from the mainstream of Gothic Studies publishing. The book moves from the earliest Gothic architecture to décor and visual aspects of theatrical design, masquerade and dance. It focuses on paintings in two historical spans from Jan Van Eyck to Henry Fuseli and from Goya to H. R. Giger to consider Clovis Trouille's works influenced by horror films and Vincent Castiglia's paintings in blood. Gothic engravings, motifs of spectral portraits, posters and signs are covered. The book then uses early visual devices like Eidophusikon and the long-lived entertainment of peepshows to introduce a discussion of projection technologies like magic lanterns and, subsequently, film and TV. Gothic photography from Daguerreotypes onwards; and Gothic font, scripts and calligraphy are then discussed. Finally, the book presents a survey of the development of newer Gothic media, such as video gaming, virtual reality (VR) games and survival horror apps.
-ranging openness of my discussion, I also consistently check my progress and applicability throughout by offering a span of critical views regarding the Gothic and Goth nature of the materials involved. My first chapter moves from the earliest Gothic architecture to décor (including kitchen design and food) and visual aspects of theatrical design, masquerade and dance. Chapter 2 focuses on paintings in two historical
Russian theatre through Nicholas Roerich’s designs for the sets of Sergei Diaghilev’s ballets and Anna Pavlova’s friendship with the Tagores, provided a new sense of theatrical design, which saw the inclusion of large painted sets that often clashed against the movements of the performers.3 Tagore’s experiments with light in Madane Theatre or Temple Cubistic therefore spring from a nuanced understanding of pictorial space in close dialogue with the advances in lighting technologies and the new architectures which it made possible. Tagore was amongst the first to get
experimentation in the theatre – Balla, Depero and Prampolini for works by Stravinsky and Prampolini’s decor and costumes for Albert-Birot’s Matoum et Tévibar and – once painting has been ‘abandoned’ for poetry by Albert-Birot after the completion of La guerre14 – it is in Albert-Birot’s ideas on theatrical design and production Adamowicz and Storchi, Back to the Furutists.indd 104 01/11/2013 10:58:43 ‘An infinity of living forms’ 105 that the collaboration with the Futurists is most evident. The idea of ‘nunic’ and of ‘nunism’ from the Greek ‘now’ is Albert-Birot’s own
Italian repertoire. Guest performances of an Italian troupe in 1840 made Edouard Fétis, son of François-Joseph and music columnist for L’Indépendant, dream about a permanent opéra italien in Brussels.63 Growing up in Paris, he had conceived a passion for Rossini, Bellini and Donizetti at the Théâtre-Italien, the place to be for the connoisseur of sophisticated taste. Stendhal, Delacroix and Chopin were counted among its famous habitués. As a state-subsidised institution, the Théâtre-Italien was fully integrated in the theatrical design of the French capital.64 For
‘accepted members who worked across many fields and with hybrid influences’, was a perfect milieu for Smith's eclectic range of work in hand-colouring, book illustration, performative storytelling, and theatrical design. 56 The female-centred Guild allowed Smith to network with other artisans who were interested, as she was, in the cause of women's rights. In 1909 she became a founding member of the Suffrage Atelier, using her skills in illustration, stencilling, and hand-printing to create feminist propaganda. Her largest
for three productions: The Torrents of Spring (BBC, 21 May 1959), Mario (BBC, 15 December 1959) and On the Edge (BBC, 16 July 1960). In a letter to BBC Head of Drama Michael Barry in 1960, Anthony Pelissier, a leading member of the group, summarised what he felt they had achieved: The Langham Group’s real contribution has been, it seems to me, to question … the validity of present-day story and drama construction, the soundness of old-fashioned theatrical design, Acting as ‘projected’ for proscenium presentation, cutting for cutting’s sake … the possibility that
Shakespeare understood the political impact of the kind of pictorial staging Antony describes, where ‘windowed in great Rome’, the actor is ‘subdued to penetrative shame’ before ‘the wheeled seat / Of fortunate Caesar’ [ Antony, 4,14,72–6 ]. And if Fowler is correct to claim that until the nineteenth century the Roman triumph was the prime model not only for official ceremony but for theatrical design