Looking and Being Looked At: Visualizing the Nineteenth-Century Spectator

@article{Davis2017LookingAB,
  title={Looking and Being Looked At: Visualizing the Nineteenth-Century Spectator},
  author={Jim Davis},
  journal={Theatre Journal},
  year={2017},
  volume={69},
  pages={515 - 534}
}
  • Jim Davis
  • Published 1 December 2017
  • Art
  • Theatre Journal
Abstract: The graphic representation of English theatre spectators in the long nineteenth century raises interesting questions around what they looked at and how they were looked at themselves. Drawing on Maaike Bleeker’s notion of visuality and Ronald Paulson’s notion of spectators as intermediate states of being, as well as on the subjectivity and tendency toward caricature of artists like Thomas Rowlandson, this essay situates visual depictions of spectators within a context of both visceral… 
1 Citations

Figures from this paper

SALAS Y SALONES: TEATRO Y SOCIABILIDAD EN LA REVOLUCIÓN LIBERAL
This article deals with the main role played by the theatre in creating sociability during the passage from the Old Regime to the Liberal Revolution. In that time theatre highlighted as a leisure

References

SHOWING 1-10 OF 28 REFERENCES
Spectacular Flirtations: Viewing the Actress in British Art and Theater, 1768-1820
Spectacular Flirtations explores representations of the actress in artistic and theatrical culture of the late eighteenth and early nineteenth centuries in Britain.Focusing on the close relationship
The Pleasures of the Imagination: English Culture in the Eighteenth Century
John Brewer's landmark book brings to life the rich cultural life of eighteenth-century England. He describes how literature, painting, music, and the theater related to a public increasingly avid
Ruskin, the theatre and Victorian visual culture
Contents Acknowledgements Notes on contributors Introduction: The Victorian Stage and Visual Culture K.Newey PART I: RUSKIN AND THE THEATRE John Ruskin, Olympian Painters and the Amateur Stage
'Auntie, can you do that?' or 'Ibsen in Brixton' : representing the Victorian stage through cartoon and caricature
From the mid to late-eighteenth century English satirical prints and caricatures frequently represented not only the performers and spectators of theatrical events in their own right, but also
Celebrity, Performance, Reception: British Georgian Theatre as Social Assemblage
By 1800 London had as many theatre seats for sale as the city's population. This was the start of the capital's rise as a centre for performing arts. Bringing to life a period of extraordinary
Art on the line : the Royal Academy exhibitions at Somerset House, 1780-1836
On 1 May 1780, England's Royal Academy of Arts opened its twelfth annual exhibition, the first to be held in the magnificent rooms of William Chambers's newly built Somerset House. For the next
Comedy, caricature and the social order, 1820–50
It is 50 years since Edward Thompson introduced historians to the phrase, the idea, the reality of 'the condescension of posterity'.(1) And while Thompson restricted his lens to the poor and
The Victorian Eye: A Political History of Light and Vision in Britain, 1800-1910
During the nineteenth century, Britain became the first gaslit society, with electric lighting arriving in 1878. At the same time, the British government significantly expanded its power to observe
City of Laughter: Sex and Satire in Eighteenth‐Century London
Between 1770 and 1830, London was the world's largest and richest city, the centre of hectic social ferment and of spectacular sexual liberation. It prompted revolutionary modes of thought, novel
The Image of the Actor: Verbal and Visual Representation in the Age of Garrick and Kemble
The public image of the actor - criticism, status and audience response the theatrical portrait constructions of realism and classicism tragedy, history painting and the aesthetics of action the
...
...