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Anthology documents 22 plays performed at 2 London theaters

By Harry Ransom Center

 

Title page of “Measure for Measure” from the anthology “Comedy As it is Acted at the Theatres-Royal in Drury-Lane and Covent-Garden.”
Title page of “Measure for Measure” from the anthology “Comedy As it is Acted at the Theatres-Royal in Drury-Lane and Covent-Garden.”

Sarah Alger is a graduate student in the School of Information at The University of Texas at Austin, where she is working to complete her degree with an emphasis in Museum Studies. As part of her class “Rare Books and Special Collections”, taught by Michael Laird, Ms. Alger studied the Ransom’s Center’s copy of Comedy As it is Acted at the Theatres-Royal in Drury-Lane and Covent-Garden.

The original intent of my research was to study a particular printing of William Shakespeare’s A Midsummer Night’s Dream published in 1779. The library’s catalog lists each play individually. But when I viewed the document, I discovered this was not just a single play but a whole collection of comedic plays. And not all of them were by Shakespeare. While about half were by Shakespeare, the rest were written by a collection of various playwrights who were not necessarily Shakespeare’s contemporaries.

How did this collection of seemingly unrelated comedies come to be bound together?

The only real connection between these 22 plays was that they were all comedies and all performed between the years 1776 and 1780 at two playhouses in London: The Theaters Royal at Drury Lane and Covent-Garden. The Theater Royal at Drury Lane is London’s oldest functioning theater. Founded by Thomas Killgrew in 1663, the modern building is the fourth playhouse to stand on that site. These plays would have been performed in the third building on that location, completed in 1794. The previous building was demolished to create a larger theater.

This particular anthology seems to have been printed with the sole purpose of preserving comedies that were performed at this historic theater in the late 1770s. Appreciators of the London theater will find this anthology offers an insightful look into early forms of the Georgian theater.

Title page of “The Beggar’s Opera” from the anthology “Comedy As it is Acted at the Theatres-Royal in Drury-Lane and Covent-Garden.”
Title page of “The Beggar’s Opera” from the anthology “Comedy As it is Acted at the Theatres-Royal in Drury-Lane and Covent-Garden.”

Registration opens for photography symposium “Magnum Photos into the Digital Age”

By Jennifer Tisdale

Image credit: Jonas Bendiksen, “Russia. Altai Territory. Villagers collecting scrap from a crashed spacecraft, surrounded by thousands of white butterflies. Environmentalists fear for the region’s future due to the toxic rocket fuel,” 2000. © Jonas Bendiksen/Magnum Photos.
Image credit: Jonas Bendiksen, “Russia. Altai Territory. Villagers collecting scrap from a crashed spacecraft, surrounded by thousands of white butterflies. Environmentalists fear for the region’s future due to the toxic rocket fuel,” 2000. © Jonas Bendiksen/Magnum Photos.

The Harry Ransom Center presents the symposium “Magnum Photos into the Digital Age.” Scheduled for October 25–27, the symposium will be held in conjunction with the Ransom Center’s upcoming fall exhibition Radical Transformation: Magnum Photos into the Digital Age.

The symposium brings together photographers, curators, and historians to discuss the ways in which Magnum Photos has continually reinvented itself from the moment of its founding.

Symposium registration information, including registration, is available online.

Twelve Magnum photographers — Christopher Anderson, Bruno Barbey, Thomas Dworzak, Eli Reed, Jim Goldberg, Josef Koudelka, Susan Meiselas, Mark Power, Moises Saman, Alec Soth, Chris Steele-Perkins, and Donovan Wylie — as well as Magnum CEO Giorgio Psacharopulo, are scheduled to appear in panel discussions with a focus on the cooperative’s evolution and future.

Panel moderators will be Kristen Lubben, associate curator at the International Center of Photography, New York; Anne Wilkes Tucker, Gus and Lyndall Wortham Curator of Photography at the Museum of Fine Arts, Houston; David Little, curator of photography and new media at the Minneapolis Institute of Arts; Stuart Alexander, independent curator and international specialist, photographs, Christie’s, New York; and Jessica S. McDonald, Nancy Inman and Marlene Nathan Meyerson Curator of Photography at the Ransom Center. They will be joined by keynote speaker Fred Ritchin, a professor of photography and imaging at New York University’s (NYU) Tisch School of the Arts and co-director of the NYU/Magnum Foundation Photography and Human Rights educational program.

The Magnum Photos Inc. photography collection resides at the Ransom Center courtesy of MSD Capital, Michael and Susan Dell, Glenn and Amanda Fuhrman, and John and Amy Phelan.

Memory as source in Jayne Anne Phillips’s “Machine Dreams”

By Ady Wetegrove

Known for the family dynamics she enmeshes in her work, Jayne Anne Phillips uses her own family history as a source for character and plot development in her debut novel Machine Dreams (1984). Phillips chronicles one family, the Hampsons, to explore narratives that span from the years leading up to World War II through the Vietnam War.

Phillips’s papers, which are now accessible at the Ransom Center, include letters, travel ephemera, army pamphlets, and public service announcements. Drawing on wartime and post-war letters written by her father, and addressed to his aunt, Phillips captures the distress of mid-twentieth-century America. The letters also inform character development in Machine Dreams.

Phillips incorporates specific language and usage from the letters throughout the novel. Her father continually sends love to “the kids,” but seldom makes specific mention of the names of his young cousins. Borrowing this language in a chapter titled “The House at Night,” Phillips writes:

“She heard faintly her brother breathe and whimper; in these summer days the artificial disruption of school was forgotten and the fifteen months of age separating them disappeared; they existed between their parents as one shadow, the kids, and they fought and conspired with no recognition of separation.”

Seeing Phillips’s papers is like gaining access to an era of American life. Family photographs in the archive supplement the early drafts of Machine Dreams, which Phillips scribbled in spiral notebooks. Annotations on photographs give meaning to otherwise nameless faces, revealing the ways Phillips develops her characters and narratives. It appears that personal relics guide Phillips’s process in the most intimate of ways—through family memories.

Phillips was a finalist for the 2009 National Book Award for her novel Lark & Termite and is the author of MotherKind (2000), Shelter (1994), Black Tickets (1979), and Fast Lanes (1984).

Related content:

Listen to Jayne Anne Phillips read an excerpt from Lark & Termite

View a list of books that Jayne Anne Phillips recommends

 

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Conservation team brings large map to larger audiences

By Edgar Walters

The Ransom Center’s archives are full of treasures waiting to be pulled off the shelves.  But once paged from the stacks, some of those treasures prove difficult to handle.

Such was the case with Giovanni Battista Piranesi’s enormous 1786 print “Pianta delle Fabriche Esistenti Nella villa Adriana.” The 10-foot wide map of Hadrian’s villa is a popular item at the Ransom Center, but its impressive size complicates the process of sharing it with students and scholars. Now, thanks to treatment efforts undertaken by Ransom Center conservators, the map is far more accessible.

Previously, a complex set of folds allowed the print to fit, attached to a stiff paper stub, inside its book. The setup was not optimal: long-term folds left significant creases in the print, and the stub attachment was unwieldy and damaging.

The conservation team had a better idea. Conservators cut the map away from its stub and carefully unfolded the map onto a large work surface, where it was cleaned of superficial dust and grime. The creases were relaxed by a textile humidifier and then flattened under a weighted drying system. Conservators also mended small tears in the print using long-fibered Japanese paper and wheat starch paste.

Next, Heather Hamilton, Head of Paper Conservation, was tasked with creating a modified tube around which the print could be rolled. Her objective was to eliminate the need for folding, thus protecting the item from potentially harmful creases. Given the print’s large size, a standard tube would be too large to house on a shelf within the stacks. Hamilton’s answer was to roll the map onto a flattened, space-saving pad.

The pad consists of four layers. A corrugated board forms the core, which is then wrapped in thick foam. An outer layer of soft, thin Volara foam envelops the interior, which is cocooned by airplane cotton just below an exterior cloth surface. Hamilton used a giant needle to sew through the many layers, ensuring that everything was well-secured.

Finally, Preservation Housing Manager Apryl Voskamp created a custom archival box to house the print and its pad. The new lidded box has a layer of protective Volara foam and a drop front, which allows the print to slide out easily without risk of harm.

The map of Hadrian’s villa is frequently used by classes in the University’s School of Architecture, where students learn the importance of structure and accessibility. Applying those same concepts, Ransom Center conservators have brought new life to the map of Hadrian’s villa.

 

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