Framing the picture on the stage : props, stillness and the artist

The rising trend of paintings taking the centre stage in theatre is not new as it has precursors steeped in modernist plays including Jean Cocteau’s The Supernatural Portrait of Dorian Gray and earlier plays that date back to the nineteenth century. This trend has been noticed by Martin Meisel whose...

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Main Author: Lui, Karen Jia Yi
Other Authors: Kevin Andrew Riordan
Format: Final Year Project
Language:English
Published: 2018
Subjects:
Online Access:http://hdl.handle.net/10356/74027
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Institution: Nanyang Technological University
Language: English
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spelling sg-ntu-dr.10356-740272019-12-10T12:07:27Z Framing the picture on the stage : props, stillness and the artist Lui, Karen Jia Yi Kevin Andrew Riordan School of Humanities and Social Sciences DRNTU::Humanities The rising trend of paintings taking the centre stage in theatre is not new as it has precursors steeped in modernist plays including Jean Cocteau’s The Supernatural Portrait of Dorian Gray and earlier plays that date back to the nineteenth century. This trend has been noticed by Martin Meisel whose book, Realisations: Narrative Theatrical Arts in the Nineteenth-Century England, explores some of the connections between various art forms such as fiction, painting, and drama in Britain during that period. Cocteau’s careful manipulation of the painting on stage as well as the detailed composition of the tableaux illuminates the impact of visibility and stillness on interpretations of paintings, which makes Dorian Gray a pivot to juxtapose the representation of pictures on a modern stage and those on a contemporary stage. In addition to examining some of the connections between Paul Rae's National Language Class that was first staged in 2006 and Dorian Gray, my essay also examines its connections with other contemporary Western plays about paintings that premiered the late twentieth century such as Stephen Sondheim and James Lapine’s Sunday in the Park with George, Yasmina Reza’s ‘Art’. Bachelor of Arts 2018-04-23T09:06:53Z 2018-04-23T09:06:53Z 2018 Final Year Project (FYP) http://hdl.handle.net/10356/74027 en Nanyang Technological University 34 p. application/pdf
institution Nanyang Technological University
building NTU Library
country Singapore
collection DR-NTU
language English
topic DRNTU::Humanities
spellingShingle DRNTU::Humanities
Lui, Karen Jia Yi
Framing the picture on the stage : props, stillness and the artist
description The rising trend of paintings taking the centre stage in theatre is not new as it has precursors steeped in modernist plays including Jean Cocteau’s The Supernatural Portrait of Dorian Gray and earlier plays that date back to the nineteenth century. This trend has been noticed by Martin Meisel whose book, Realisations: Narrative Theatrical Arts in the Nineteenth-Century England, explores some of the connections between various art forms such as fiction, painting, and drama in Britain during that period. Cocteau’s careful manipulation of the painting on stage as well as the detailed composition of the tableaux illuminates the impact of visibility and stillness on interpretations of paintings, which makes Dorian Gray a pivot to juxtapose the representation of pictures on a modern stage and those on a contemporary stage. In addition to examining some of the connections between Paul Rae's National Language Class that was first staged in 2006 and Dorian Gray, my essay also examines its connections with other contemporary Western plays about paintings that premiered the late twentieth century such as Stephen Sondheim and James Lapine’s Sunday in the Park with George, Yasmina Reza’s ‘Art’.
author2 Kevin Andrew Riordan
author_facet Kevin Andrew Riordan
Lui, Karen Jia Yi
format Final Year Project
author Lui, Karen Jia Yi
author_sort Lui, Karen Jia Yi
title Framing the picture on the stage : props, stillness and the artist
title_short Framing the picture on the stage : props, stillness and the artist
title_full Framing the picture on the stage : props, stillness and the artist
title_fullStr Framing the picture on the stage : props, stillness and the artist
title_full_unstemmed Framing the picture on the stage : props, stillness and the artist
title_sort framing the picture on the stage : props, stillness and the artist
publishDate 2018
url http://hdl.handle.net/10356/74027
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