Book contents
- Frontmatter
- Shakespeare, text and paratext
- The popularity of Shakespeare in print
- The continuing importance of new Bibliographical method
- ‘Honour the real thing’: Shakespeare, Trauma and Titus Andronicus in South Africa
- ‘O, these encounterers’: on Shakespeare’s meetings and partings
- A play of modals: Grammar and potential action in early Shakespeare
- Merry, marry, Mary: Shakespearian wordplay and Twelfth Night
- A subtle point: Sleeves, tents and ‘Ariachne’s broken woof’ (again)
- The look of Othello
- Red button Shakespeare
- ‘Mark you / his absolute shall?’: Multitudinous tongues and contested words in Coriolanus
- Chagall’s Tempest: An autobiographical reading
- Reading illustrated editions: Methodology and the limits of interpretation
- Close encounters with Anne Brontë's Shakespeare
- Shakespeare and the magic lantern
- Shakespeare and the coconuts: close encounters in post-apartheid South Africa
- The Schrödinger effect: Reading and misreading performance
- Behind the scenes
- Inner monologues: Realist acting and/as Shakespearian performance text
- More japanized, casual and transgender shakespeares
- Translation futures: Shakespearians and the foreign text
- After translation
- ‘The single and peculiar life’: Hamlet’s heart and the early modern subject
- Mapping King Lear
- ‘Last on the stage’: The place of Shakespeare in Charles Darwin’s ethology
- Sense/memory/sense-memory: Reading narratives of Shakespearian rehearsals
- Shakespeare performances in England (and Wales), 2008
- Professional Shakespeare productions in the British Isles, January–December 2007
- The Year's Contributions to Shakespearian Study 1 Critical Studies
- 2 Shakespeare in performance
- 3a Editions and textual studies
- 3b Editions and textual studies
- Index to Volume 62
Shakespeare and the magic lantern
Published online by Cambridge University Press: 28 November 2009
- Frontmatter
- Shakespeare, text and paratext
- The popularity of Shakespeare in print
- The continuing importance of new Bibliographical method
- ‘Honour the real thing’: Shakespeare, Trauma and Titus Andronicus in South Africa
- ‘O, these encounterers’: on Shakespeare’s meetings and partings
- A play of modals: Grammar and potential action in early Shakespeare
- Merry, marry, Mary: Shakespearian wordplay and Twelfth Night
- A subtle point: Sleeves, tents and ‘Ariachne’s broken woof’ (again)
- The look of Othello
- Red button Shakespeare
- ‘Mark you / his absolute shall?’: Multitudinous tongues and contested words in Coriolanus
- Chagall’s Tempest: An autobiographical reading
- Reading illustrated editions: Methodology and the limits of interpretation
- Close encounters with Anne Brontë's Shakespeare
- Shakespeare and the magic lantern
- Shakespeare and the coconuts: close encounters in post-apartheid South Africa
- The Schrödinger effect: Reading and misreading performance
- Behind the scenes
- Inner monologues: Realist acting and/as Shakespearian performance text
- More japanized, casual and transgender shakespeares
- Translation futures: Shakespearians and the foreign text
- After translation
- ‘The single and peculiar life’: Hamlet’s heart and the early modern subject
- Mapping King Lear
- ‘Last on the stage’: The place of Shakespeare in Charles Darwin’s ethology
- Sense/memory/sense-memory: Reading narratives of Shakespearian rehearsals
- Shakespeare performances in England (and Wales), 2008
- Professional Shakespeare productions in the British Isles, January–December 2007
- The Year's Contributions to Shakespearian Study 1 Critical Studies
- 2 Shakespeare in performance
- 3a Editions and textual studies
- 3b Editions and textual studies
- Index to Volume 62
Summary
In 1841/2, a magic lanternist calling himself 'Timothy Toddle' wrote down, for his own reference, the running order for his slides. Alongside each numbered and titled slide, he scripted an accompanying commentary. Toddle, it seems, wanted to ensure both the correct sequencing of his material and the fluency of his public patter. His show opened, as was customary, with an introductory 'Welcome' slide and closed with one reading 'Good Night' and another 'God Save the Queen'. Between these end points, the show consisted of approximately 180 other slides, ranging significantly in theme and tone. The surviving running order reveals that in the midst of slide sequences such as 'A very clever trick of clowns', 'Miss Lucy swinging from a Walnut tree', 'Punch and Judy', 'Mr Pickwick running after his hat' and 'Lord Byron - a poet of the first rate talent but of the most seductive &dangerous principles', Toddle also dropped in slides illustrating two dramatic moments from Macbeth, each accompanied by a summarized narration of the relevant section of the drama and some select Shakespearian quotation.
Subsequently, Toddle's script passed to another lantern-lecturer who, in c.1870, made some modifications and additions to it in a discernibly different hand. This later lanternist's additions included two further Shakespearean sequences, from Hamlet and Richard III respectively. As had been the case for the original Macbeth section, both additional Shakespearian sequences were accompanied by some scripted narration and gobbets of appropriate quotation.
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- Information
- Shakespeare Survey , pp. 191 - 210Publisher: Cambridge University PressPrint publication year: 2009