헨리 어빙의 개인적인 추억. The Book of Personal reminiscences of Henry Irving, by Bram Stoker

Bram Stoker 지음

단하나출판사 2022년 08월 19일 출간

작품소개

책소개

브램 스토커(Bram Stoker) 가 쓴 Henry Irving 에 대해 기술.

Henry Irving. 영국의 배우이자 극장경영자로 셰익스피어 배우로 명성을 얻었다. 배우로서는 처음으로 Sir 칭호를 받았다.
1838.2.6 - 1905.10.13
1856년 E.G.벌워 리튼의 리슐리외：Richelieu로 데뷔하였고, 1864년 햄릿역으로 무대에 섬으로써 셰익스피어 배우로 명성을 얻었다. 특히 라이시엄극장의 경영을 맡았을 때, 배우 A.테이트의 오필리아와 줄리엣에 대한 햄릿 로미오역으로 일세를 풍미하였다. 또한 L.루이스의 멜로드라마 종소리에서 인기를 얻었다. 독창적인 연출 ·연기의 공적으로 1895년 배우로서는 처음으로 Sir 칭호를 받았다.

브램 스토커(Bram Stoker) 1847 년 에이레 더블린출생. 작가

목차

CONTENTS
PAGE
I. EARLIEST RECOLLECTIONS OF HENRY IRVING 1


Earliest recollection, Dublin, 1867―Captain Absolute―Impersonation―Distinction―Local criticism―“Two Roses,” Dublin, 1871―The archetype of Digby Grant―Chevalier Wikoff.

II. THE OLD SCHOOL AND THE NEW 8


Irving’s early experience in Dublin―A month of hisses―The old school of acting and the new―Historical comparison―From Edmund Kean to Irving―Irving’s work―The thoughtful school.

III. FRIENDSHIP 16


Criticism―My meeting with Irving―A blaze of genius―The friendship of a life.

IV. HONOURS FROM DUBLIN UNIVERSITY 22


Public Address―University Night―Carriage dragged by students.

V. CONVERGING STREAMS 27


A reading in Trinity College―James Knowles―Hamlet the Mystic―Richard III.―The Plantagenet look―“Only a commercial”―True sportsmen―Coming events.

VI. JOINING FORCES 35


“Vanderdecken”―Visit to Belfast―An Irish bull―I join Irving―Preparations at the Lyceum―The property master “getting even.”

VII. LYCEUM PRODUCTIONS 45


VIII. IRVING BEGINS MANAGEMENT 46


The “Lyceum Audience”―“Hamlet”―A lesson in production―The Chinese Ambassador―Catastrophe averted―The responsibility of a manager―Not ill for seven years.

IX. SHAKESPEARE PLAYS―I 53


“The Merchant of Venice”―Preparation―The red handkerchief―Booth and Irving―“Othello”―A dinner at Hampton Court―The hat.
xii
X. SHAKESPEARE PLAYS―II 59


“Romeo and Juliet”―Preparation―Music―The way to carry a corpse―Variants of the bridal chamber―“Much Ado About Nothing”―John Penberthy―Hyper-criticism―Respect for feelings.

XI. SHAKESPEARE PLAYS―III 68


“Macbeth”―An amateur scene-painter―Sir Arthur Sullivan―A lesson in collaboration―“Henry VIII.”―Lessons in illusion―Stage effects―Reality v. scenery―A real baby and its consequences.

XII. SHAKESPEARE PLAYS―IV 76

책 속으로

브램 스토커(Bram Stoker) 가 쓴 Henry Irving 에 대해 기술.

Henry Irving. 영국의 배우이자 극장경영자로 셰익스피어 배우로 명성을 얻었다. 배우로서는 처음으로 Sir 칭호를 받았다.
1838.2.6 - 1905.10.13
1856년 E.G.벌워 리튼의 리슐리외：Richelieu로 데뷔하였고, 1864년 햄릿역으로 무대에 섬으로써 셰익스피어 배우로 명성을 얻었다. 특히 라이시엄극장의 경영을 맡았을 때, 배우 A.테이트의 오필리아와 줄리엣에 대한 햄릿 로미오역으로 일세를 풍미하였다. 또한 L.루이스의 멜로드라마 종소리에서 인기를 얻었다. 독창적인 연출 ·연기의 공적으로 1895년 배우로서는 처음으로 Sir 칭호를 받았다.

브램 스토커(Bram Stoker) 1847 년 에이레 더블린출생. 작가

출판사 서평

PREFACE
Were my book a “life” of Henry Irving instead of a grouping of such matters as came into my own purview, I should probably feel some embarrassment in the commencement of a preface. Logically speaking, even the life of an actor has no preface. He begins, and that is all. And such beginning is usually obscure; but faintly remembered at the best. Art is a completion; not merely a history of endeavour. It is only when completeness has been obtained that the beginnings of endeavour gain importance, and that the steps by which it has been won assume any shape of permanent interest. After all, the struggle for supremacy is so universal that the matters of hope and difficulty of one person are hardly of general interest. When the individual has won out from the huddle of strife, the means and steps of his succeeding become of interest, either historically or in the educational aspect―but not before. From every life there may be a lesson to some one; but in the teeming millions of humanity such lessons can but seldom have any general or exhaustive force. The mere din of strife is too incessant for any individual sound to carry far. Fame, who rides in higher atmosphere, can alone make her purpose heard. Well did the framers of picturesque idea understand their work when in her hand they put a symbolic trumpet.
The fame of an actor is won in minutes and seconds, not in years. The latter are only helpful in the recurrence of opportunities; in the possibilities of repetition. It is not feasible, therefore, adequately to record the progress of his work. Indeed that work in its perfection cannot be recorded; words are, and can be, but faint suggestions of awakened emotion. The student of history can, after all, but accept in matters evanescent the judgment of contemporary experience. Of such, the weight of evidence can at viiibest incline in one direction; and that tendency is not susceptible of further proof. So much, then, for the work of art that is not plastic and permanent. There remains therefore but the artist. Of him the other arts can make record in so far as external appearance goes. Nay, more, the genius of sculptor or painter can suggest―with an understanding as subtle as that of the sun-rays which on sensitive media can depict what cannot be seen by the eye―the existence of these inner forces and qualities whence accomplished works of any kind proceed. It is to such art that we look for the teaching of our eyes. Modern science can record something of the actualities of voice and tone. Writers of force and skill and judgment can convey abstract ideas of controlling forces and purposes; of thwarting passions; of embarrassing weaknesses; of all the bundle of inconsistencies which make up an item of concrete humanity. From all these may be derived some consistent idea of individuality. This individuality is at once the ideal and the objective of portraiture.

--

For nearly thirty years I was an intimate friend of Irving; in certain ways the most intimate friend of his life. I knew him as well as it is given to any man to know another. And this knowledge is fully in my mind, when I say that, so far as I know, there is not in this book a word of his inner life or his outer circumstances that he would wish unsaid; no omission that he would have liked filled.
Let any one who will read the book through say whether I have tried to do him honour―and to do it by worthy means: the honour and respect which I feel; which in days gone I held for him; which now I hold for his memory.
BRAM STOKER.
4 DURHAM PLACE,
CHELSEA, LONDON.

작가정보

저자(글) Bram Stoker

Bram Stoker Henry Irving. 영국의 배우이자 극장경영자로 셰익스피어 배우로 명성을 얻었다. 배우로서는 처음으로 Sir 칭호를 받았다.1838.2.6 - 1905.10.131856년 E.G.벌워 리튼의 리슐리외：Richelieu로 데뷔하였고, 1864년 햄릿역으로 무대에 섬으로써 셰익스피어 배우로 명성을 얻었다. 특히 라이시엄극장의 경영을 맡았을 때, 배우 A.테이트의 오필리아와 줄리엣에 대한 햄릿 로미오역으로 일세를 풍미하였다. 또한 L.루이스의 멜로드라마 종소리에서 인기를 얻었다. 독창적인 연출 ·연기의 공적으로 1895년 배우로서는 처음으로 Sir 칭호를 받았다.브램 스토커(Bram Stoker) 1847 년 에이레 더블린출생. 작가