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Samuel Beckett was deeply engaged with the visual arts and individual painters, including Jack B. Yeats, Bram van Velde, and Avigdor Arikha. The book explores what Beckett saw in their paintings that would come to shape his own dramas as visual artworks. It explains what visual resources Beckett found in these particular painters rather than in the surrealism of Masson or the abstraction of Kandinsky or Mondrian. The analysis of Beckett’s visual imagination is based on his quite extensive art criticism and on close analysis of the paintings that he would actually have viewed. Lloyd shows how Beckett’s fascination with these painters illuminates the ‘painterly’ qualities of his theatre and the philosophical, political and aesthetic implications of Beckett’s highly visual dramatic work. These implications center on his interrogation of the philosophical, political and aesthetic limits of representation in the wake of decolonization, fascism and world war. The book argues that in place of the subject-object relation that underpins modern concepts of representation, Beckett seeks to present the human as a thing in a world reduced to thingliness.

This volume examines the ways in which an intellectual vogue for a mythic China was a constituent element of British Modernism. Traditionally defined as a decorative style that conjured a fanciful and idealized notion of China, chinoiserie was revived in London's avant-garde circles, the Bloomsbury group, the Vorticists and others, who like their eighteenth-century forebears, turned to China as a cultural and aesthetic utopia. As part of Modernism's challenge to the 'universality' of so-called Western values and aesthetics, the turn to China would contribute much more than has been acknowledged to Modernist thinking. As the book demonstrates, China as an intellectual and aesthetic utopia dazzled intellectuals and aesthetes, while at the same time the consumption of Chinese exoticism became commercialized. The essays cover performance and visual media, theatre, fashion, film and dance, interior and garden design, as well as literature, painting and poetry, showing that from cutting-edge Modernist chic to mass culture and consumer products, the vogue for chinoiserie style and motifs permeated the art and design of the period.

This book challenges the narrative of Shakespeare's ‘bare’ stage by looking at the ‘ground zero’ of early modern theatrical representation: the painted body of the actor. Organised as a series of studies and considering the impact of the materiality of stage properties on live performance, the four chapters of the book examine goldface and divinity in York's Corpus Christi play; bloodiness in Elizabethan and Jacobean drama, including the unexpected use of blood as a disguise device; blackface performance within seventeenth-century court masques and in popular plays performed at the public playhouses; and finally whiteface, death, and stoniness in two King's Men plays of 1611. Not only did dramatists turn to paint to sustain a variety of theatrical illusions, they also strategically manipulated the multiple significations of this technology to create stage characters with complex effects of depth; allude to past and to contemporary performances; and thrill audiences by showcasing actors’ virtuoso transformations. Addressing current debates about the relationship between pre- and early modern subjectivity and embodiment, this book challenges the persistent notion that the drama of Shakespeare and his contemporaries was built predominantly around a new, ‘modern’ language of interiority. As a whole, the book questions the boundaries of the period categories ‘medieval’ and ‘early modern’ by demonstrating important continuities in theatrical labour and theatrical materials from medieval cycle drama through to the popular and courtly drama of the 1630s.

This book chronicles and theorises face and body masking in arts and culture from the mid-nineteenth century to the new millennium. While featuring the modernist era in France, analyses include commentary on performers and visual artists from the margins of the European continent: Ireland and the Baltics; Denmark and the Mediterranean. Representations of silent Pierrots on stage are contrasted with images of fixed-form maskers and masquerades; two-dimensional depictions in paintings and photographs further the study of the form-altered human figure. The relationship of the European avant-garde with indigenous masquerade from Africa and the Americas is discussed and presented in a series of eighteen photographic counterpoints. Modernist explorations of the masked gaze and the nature of looking with the painted face are considered. Meanings suggested by the disguised body in motion and in stasis are investigated via citations of the work of a wide range of masqueraders: Akarova, Bernhardt, Cahun, Höch, Fuller, Mnouchkine, Stein and Wigman, as well as Artaud, Barrault, Cocteau, Copeau, Deburau, Fo, Milhaud and Picasso. Connections between modernist disguising with manifestations of masquerade in daily life, fashion, fine art, media, opera and theatre are proposed while arguing that masking and the carnivalesque are omnipresent in contemporary culture. Modernist Disguise provides greater understanding of the impact of facial masking upon everyday interactions and perceptions experienced, for instance, during the ongoing COVID-19 pandemic. The book proposes an interdisciplinary and international lexicon for critical conversation on masking objects, mask play and masquerade as performance.

This book discovers within early modern revenge tragedy the surprising shaping presence of a wide array of classical philosophies not commonly affiliated with the genre. By recovering the pervasive influence of Aristotelian faculty psychology on The Spanish Tragedy, Aristotelian ethics on Titus Andronicus, Lucretian atomism on Hamlet, Galenic pneumatics on Antonio’s Revenge and Epictetian Stoicism on The Duchess of Malfi, this book reveals how the very atmospheres and ontological assumptions of revenge tragedy exert their own kind of conditioning dramaturgical force. The book also revitalises our understanding of how the Renaissance stage, even at its most lurid, functions as a unique space for the era’s practical, vernacular engagement with received philosophy.