5.7.2 Post-mortems How do Images 73 and 74 differ from the usual studio portraits of children? Make a note of the more obvious differences. 5.6.4 Wedding anniversaries Silver and golden wedding anniversaries were often commemorated with a portrait. Many examples follow the pattern of the studio portraits taken for engagements and weddings, with the couple taken individually and together. 5.6.3 Honeymoons 5.5.2 Skirts and breeching Look carefully at Images 46, 47 and 48. 4.12 Key concepts We can conclude that the ideas relating to idealization, positive characterization and sexual stereotyping had a significant influence on the treatment of all 4 components of the portrait: expression, pose, background accessories and lighting. Victorian family photographs (like most other primary sources) are therefore selective, partial and biased. Early photographers regarded it as part of their proper function to emphasize those aspects that were considered at the time to be good and 4.9.2 Idealisation Early photographers were adept at using natural lighting to idealise the sitter. Manuals of good practice were full of advice on adapting the lighting to soften wrinkles and wreathe blemishes in shadow. For ladies of a certain age, who often give the photographer a deal of trouble, it is advisable to employ a very soft light falling in front, which softens the wrinkles and protuberances of the face, and obliterates 4.9.1 Natural light Can you identify the source of light used to create this portrait? Purpose By now you have sufficient familiarity with early portraits to know that photographers regularly used painted backdrops and accessories to create a sort of stage set within the studio. These backgrounds came into widespread use with the introduction of the carte de visite in c.1860. Until the Second World War, 2 scenarios remained popular: the interior setting with windows, curtains, table and chair; and the parkland setting with trees, balustrade, rustic bench or stile. This choice of backdr 4.4 Groups If we agree that the posing of individuals carried messages for the viewer it makes sense that the posing of family groups can similarly be made to convey suggestions about the family and its character. 4.3 Characterisation and sexual stereotyping The choice of pose was also intended to echo the limited positive characterization of the expression. Distinctions were inevitably drawn between poses regarded as suitable for males and those considered appropriate for females. Men were allowed greater variety of poses than women. The pose of a lady should not have that boldness of action which you would give a man, but be modest and retiring, the arms describing g 3.2 Idealisation There were fundamental principles of painted portraiture that affected every element of the portrait, from expression and pose to background and lighting. The first imperative was the need to idealize the sitter. 2.1.1 Card mounted photographs 1860–c.1914 Glossary 7.2 Asides An aside is a shorter speech, maybe only a few words, spoken sotto voce to the audience. It is presumed that the other characters on stage cannot hear what is being said, unless the aside is between two characters. Unlike the soliloquy, which largely died out with the decline of poetic drama, the aside is a convention that was widely used until the rise of naturalistic drama early in the twentieth century. Nevertheless, it is still employed in those conventional dramatic genres, pantom 6.1 Performance and production The idea that drama is a performed art should, by now, be one with which you feel familiar. What should also be clear from each of the examples discussed so far is that there is a range of factors to consider when approaching a dramatic text, and that to engage with any dramatic work we need to consider more than just the words on the page. Here, I'll be asking you to think about the language of the text, and about what's involved in moving outwards from the page to the stage. I will also be 2 Dialogue Here is a longer passage from the scene in Top Girls:
Introduction Do you want to get more out of drama? This unit is designed to develop the analytical skills you need for a more in-depth study of literary plays. You will learn about dialogue, stage directions, blank verse, dramatic structure and conventions and aspects of performance. It's not necessary for you to have previously read any of the plays mentioned in the unit before embarking on it, but to get the most from it you may like to obtain texts of the following: 3.6 Assessing James's argument James argues as follows: A It is impossible to experience an emotion without feeling bodily changes. B Therefore, an emotion is a set of bodily feelings. 2.4 Image In the city of Rome the emperor glorified his relationship with the provinces. Here you will consider how the emperor was exalted in the provinces. It was impossible for the emperor to be seen personally by all his subjects and so methods were employed to publicise his face and name – to overcome geographic distance by making the emperor familiar to his people. Standardised images of the emperor – on statues, busts and coins – were widely copied and placed in prominent public locations. 2.1 Looking in detail at Thugga In this section you will be looking in more detail at the city of Thugga and working with the video and further evidence. This study of a city will then broaden out to consider other forms of material and visual evidence from different parts of Africa; you will also watch more video sequences. This section focuses upon one aspect of Romano-African culture: the interplay between Roman culture and indigenous African culture. This theme is one of a range of ‘binary oppositions’ which may be
Activity 22
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Activity 18
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Amphitheatre
a circular structure with seats rising behind and above each other around a central open space or arena; originating in classical Greece, they are the first known specifically designated theatre spaces.
Apostrophe
a rhetorical convention in which the speaker either addresses a dead or absent person, or a
JOYCE's backyard. The house with backdoor is upstage. Downstage a shelter made of junk, made by children. Two girls, ANGIE and KIT, are in it, squashed together. ANGIE is 16, KIT is 12. They cannot be seen from the house. JOYCE calls from the house.
JOYCE
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Activity 6
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Image 65 Photographer/Painter: Alfred Pettit, Keswick. Subject: Ben Naylor and his new wife Carrie, née Birchall, on their honeymooon in the Lake District, c.1880.<
Image 46 Photographer/Painter: Hills & Saunders, Eton. Subject: Michael Cahne Seymour, 1871.
Image 3 Photographer/Painter: Anon.
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