As part of the Ransom Center’s Poetry on the Plaza series, Claire Redcliffe from the touring Actors from the London Stage will present a dramatic reading of “Perchance to Dream,” an exploration of sleep and dreaming in poetry, at noon on Wednesday, October 14 on the Ransom Center plaza.Read more
Colin McLaughlin is a radio-television-film, rhetoric and writing, and Plan I Honors senior in Dr. Elon Lang’s “Drama in the Archives” course. In the class, students used resources at the Harry Ransom Center to better understand plays, texts, dramatists, cultures from which they are drawn, and the archival process itself. Below, McLaughlin shares his experience in the class.
You become accustomed to certain things after your tenth visit to the Ransom Center. The processes required for entry—presenting your ID card, dropping your backpack off in the locker, opening your computer —become automatic. What never becomes mundane is the experience of opening the folder, not knowing what you may discover inside.
I spent a lot of time with the Norman Bel Geddes concept pieces for the 1917 New York production of King Lear, both through class meetings and in my own time at the Ransom Center. These pieces represent some of Bel Geddes’s earliest work and are remarkable both because Bel Geddes was only 23 years old at the time and because the works have survived, despite the fact that the production they were commissioned for was never staged.
The almost abstract nature of the piece evokes the idea of a cultural subconscious and how—after centuries of productions and adaptations ranging from classic and minimal to bizarre (see the “King Lear: Godard Film” materials in Box 5 of the Thomas Fiske collection)—King Lear has transcended what can be normally preserved in photographs and film evidence.
I compared these pieces to the materials the Ransom Center holds on the Elia Kazan film adaptation of Tennessee Williams’s A Streetcar Named Desire for my final presentation in the “Drama in the Archives” class. I wanted to compare the photographic vs. non-photographic evidence in the archive. I was motivated by Matthew Reason’s words in Documentation, Disappearance, and the Representation of Life Performance: “performance only exists in the moment of its creation, and its only valid afterlife is in the memory of those who were there.”
Comparing the abstract Bel Geddes work on Lear to the more concrete publicity kits and script revisions for the Streetcar film led me to argue that, because of photographic documentation and the prevalence of the Kazan film and its iconic performances, modern texts like A Streetcar Named Desire are more solidified in the cultural consciousness, and thus performances of these texts are more concerned with preserving those original visions. Meanwhile, because no photographic evidence exists for the original productions of Lear, the text is freer to be interpreted and adapted in bold, artistic ways.
My final argument, the culmination of a semester studying drama in the archives, ended up being much simpler than I had originally intended. This surprised me. After weeks of coming to the archive, I learned that the answers we find in the boxes and folders of the archive, while extensive and often enlightening, may not always be as complicated as we expect them to appear.
Have you ever wondered how a play or film might have turned out differently? This was the guiding question in the new Humanities Honors course—titled “Drama in the Archives”—offered in fall 2014 by Dr. Elon Lang, lecturer and former part-time archivist at the Ransom Center. During the semester, Lang brought students from his class to the Ransom Center at least once per week to learn about the Center and to learn how to conduct original primary research in the Center’s theater and performing arts collections.
In the course, students studied several representative examples of modern and contemporary Anglophone drama, as well as Shakespeare and Shakespearean performance. These included Shakespeare’s King Lear, Tennessee Williams’s Streetcar Named Desire, Arthur Miller’s Death of a Salesman, Samuel Beckett’s Waiting for Godot, David Mamet’s Oleanna, and Tom Stoppard’s Arcadia. All of these are supported by strong collections in the Ransom Center. Students were asked to read, analyze, and discuss printed editions of these plays during regular class meetings and then to examine selections from Ransom Center archives that illustrated how those plays were shaped by their authors and publishers and how they have been altered by various performances and interpretations over time.
For example, regarding King Lear, students compared the Ransom Center’s copy of the 1619 Second Quarto edition of the play to its three copies of the 1623 First Folio edition—noticing intriguing differences in key speeches that altered their perception of the characters. They then also viewed artistic representations of Lear’s throne room from the Ransom Center’s Boydell Shakespeare print collection (neo-classical style including architecture with Grecian columns, emphatic facial expressions and rippling musculature) and the Norman Bel Geddes collection (expressionist style with intense colors, outlines of figures, and primitive architecture resembling Stonehenge). Students compared all these variations to recent productions and films of the play and wrote extensively about how the archival context helped them understand the history and impact of choices made by directors and producers.
Lang came up with the idea for the class after describing some of his archival work on the Ransom Center’s Pforzheimer manuscript collection to his humanities students. Despite their interest in what Lang suggested could be learned from archival materials, very few students had actually visited the Ransom Center, and even fewer had contemplated doing research there.
“This struck me as a terrible shame,” Lang said, “but also a remarkable opportunity.”
As Haley Williams, a third-year student in the class and president of Liberal Arts Honors Student Council, wrote: “In my first two years of undergrad, I often passed the ‘big glass buildings with the pretty pictures’ on my way to and from class. I had even visited the exhibits on occasion and meandered over to listen to a lecture from time to time. However, in my mind, the Harry Ransom Center was for graduate students and professors, a place off limits to undergraduate students such as me. Thankfully, this semester I was proven wrong.”
Lang decided that it should be his mission to design a course that would show how the Ransom Center could serve as a valuable and approachable research tool for all interested users—especially the University of Texas at Austin’s undergraduates—and to show how much students could gain from working with archival materials. He chose important plays as the subject matter for the class partly because of the Ransom Center’s impressive collections and partly because the consequences of creative choices that can be revealed in an archive become clear very quickly when analyzing dramatic texts.
“When you imagine a text being performed by actors, you are already engaged in a process of analyzing unstated elements of movement, intonation, emphasis—and these interpretations can change drastically when you see how the words in a speech or the sequence of actions in stage directions transform over time,” Lang said.
For A Streetcar Named Desire, students analyzed the numerous original drafts of the play in the Tennessee Williams collection (one of which includes an ending where Blanche DuBois does not go crazy). They then considered how the changes in the text correlated with Williams’s correspondence with his agent, Audrey Wood, about how to edit and then cast the play—and finally how to handle his objections to the famous 1951 screenplay starring Marlon Brando and Vivien Leigh. For a final exercise, students attended a production of the play being staged on campus and had in-depth discussions with the director (Jess Hutchinson, M.F.A. candidate in directing in the College of Fine Arts at The University of Texas at Austin) about how she used the Ransom Center’s collections to inform her production process.
Viewing rare and valuable materials in the Ransom Center reading room offered students a chance not only to develop a critical eye but also to realize a new and sometimes spiritual appreciation for humanistic inquiry.
“The pages spoke like the hinges of a haunted house, [both] daunting and enticing,” wrote Abraham Kinney about the Shakespeare First Folio. A senior English major and long-time Austin resident, Kinney describes how, in the class, “we were able to see the meticulous care that goes into the preservation of the vast archives compiled at the Ransom Center… In this place of intellectual agency, my focus shifted from merely researching in the dull categoric [sic] way, talking, writing, getting a grade, and moving on, to digging deep within the traces that our cultural heritage has left us, in a way that sparked a serious level of critical thought about who we are and how we are bound in the ways we think.”
After several weeks of guided readings and archival work, Lang had students develop their own research projects that involved close attention to an item in the Ransom Center’s collections and its historical and critical contexts. Students presented their research to an audience of Ransom Center staff and Liberal Arts faculty. Paul Sullivan, a lecturer in Plan II and the English Department who also volunteers at the Ransom Center, wrote, “Clearly, encounters with the archives made a big difference in how these bright young people will now read texts, and the world!”
Lang hopes to offer this course again in spring 2016, and in the meantime he is working to develop a summer workshop for high school English teachers through UTEACH to adapt some of his archive-oriented teaching methods for secondary education.
James Shapiro, Larry Miller Professor of English and Comparative Literature at Columbia University, discusses Shakespeare in America at 7 p.m. this Thursday, May 1, at the Harry Ransom Center. A reception and book signing follow, and books will be available for sale.
Shapiro’s newest work, Shakespeare in America: An Anthology from the Revolution to Now, explores Shakespeare’s role in American culture. The anthology, published by the Library of America in celebration of the 450th anniversary of Shakespeare’s birthday, comprises 71 pieces from American poets, politicians, essayists, novelists, and more. It includes works by Edgar Allan Poe, Woody Allen, Cole Porter, Isaac Asimov, and James Agee.
The anthology aims to show that, although America declared its independence from Great Britain, Americans have adapted Shakespeare for use in cultural expression. In a recent interview, Shapiro said, “American history tends to be represented in a kind of clear-cut, steady march. What became clear to me through this book is the uses—disturbing and exhilarating in equal measure—to which Shakespeare has been put. People have used Shakespeare as a means to make arguments that are not easily made or expressed in this country about race, gender, war, social justice, identity.” The full interview may be viewed in the above video.
The Ransom Center holds three copies of the Shakespeare First Folio and several quarto editions of the plays, along with prompt books, costume designs, and many other materials relating to productions of the plays from the eighteenth century to the modern era.
Each Friday, the Ransom Center shares photos from throughout the week that highlight a range of activities and collection holdings. We hope you enjoy these photos that reveal some of the everyday happenings at the Center.
In October, University of Texas at Austin Psychology Professor Marc Lewis brought his freshman Plan II Honors class on a trip to the Ransom Center. Professor Lewis has won numerous teaching awards, including the Regents’ Outstanding
TeachingAward and the President’s Associates Teaching Excellence Award. Below, Professor Lewis writes about his class’s private tour of the Ransom Center, led by Director Thomas F. Staley.
Over 30 years of teaching, I can remember many occasions where students were excited and interested, but my Plan II Honors Signature class’s visit to the Ransom Center on October 4 marks the first time that I have heard audible gasps of astonishment. The class arrived with high expectations, knowing that even among the “gems of the university,” the Ransom Center is unique. They had ordered an eclectic collection of treasures to view: the original manuscript of Arthur Conan Doyle’s “A Scandal in Bohemia,” a Shakespeare first folio, Robert De Niro’s jacket from Taxi Driver, Volume 1 of the 1609 Douay Old Testament, original notes from a Woodward and Bernstein interview with Deep Throat, Abraham Ortelius’s 500-year-old map of the New World, a set of original architectural drawings by Frank Lloyd Wright, and various other rare items. The students came expecting that those exhibits would be the highlight of the day; what they did not expect was that the real magic would be a talk by Director Tom Staley followed by a personal tour of the closed, nonpublic sections of the building.
These freshmen students knew what they experiencing. As one student wrote afterwards: “Walking through rooms filled with original movie posters, books filled with presidential autographs, and other priceless historical artifacts spread casually along shelves was incredible in and of itself, but the places and people Dr. Staley took us to were even more remarkable. Seemingly without ever planning to do so, he showed us the full scope of the Ransom Center’s activities and their significance, everything from the meticulous preservation of the cover from a first edition of The Great Gatsby to colorful sketches of Macy’s parade floats from 40 or 50 years ago.”
Another student was as struck by the excitement of the Center as fully as he was by the items: “Having a backstage pass with Director Tom Staley as guide was a spectacular experience. Simply observing his reactions to the artifacts we saw being restored revealed to me the passion that goes into maintaining this Center.”
And: “Around a corner, we encountered an original poster for the 1962 film adaptation of To Kill a Mockingbird—you just don’t find this sort of thing anywhere else. Sometime later in the trip, we were taken to a room where an ancient map a dozen-and-a-half feet long was undergoing a preservation process. You see this sort of artifact on the Discovery Channel and think, ‘Oh, that’s neat!’ but it is only when you see it first-hand that you get a true appreciation for the talent, dedication, and effort that goes into it all.”
Other students commented on the way that the Ransom Center’s collections connect the dots to show artistic flows of thought: “The Ransom Center’s pursuit of an understanding of the creative process and the artistic mind made me completely rethink the process of bringing together collections of art and writing.”
These students had never seen anything like the Ransom Center, and I am pleased that they were wise enough to understand how rare an opportunity they were given. I understood that opportunity as well, and I am not embarrassed to admit that my own jaw dropped more than once during the visit. What an astounding afternoon.
“I’m happy that this book is stable enough for scholars to use,” said Inkyung Youm, a graduate intern in the Ransom Center’s Conservation Department, when asked about the most satisfying part of conserving a book of fabricated Shakespearian manuscripts.
When Miscellaneous Papers and Legal Instruments under the Hand and Seal of William Shakespeare first crossed Inkyung’s workbench, time had taken its toll. The book had split apart in several places. The leather that remained on the binding was chemically deteriorated, and the covers were detached from the text block. Thankfully, the paper was in fairly good condition despite some foxing, a term applied to orangish spots, often present in older paper, that are attributed to deteriorating mold spores or microscopic bits of metal.
Samuel Ireland, an engraver and publisher of travelogues, published this printed collection of alleged Shakespeare manuscripts. Later, the manuscripts that inspired the publication were revealed as forgeries made by his son, William Henry Ireland.
In two published exposésthat chronicle his voyage down the slippery path of a forger, William Henry recalls the 1792 trip he took with his father, Samuel, to Shakespeare’s hometown of Stratford-on-Avon. Samuel Ireland, a fervent enthusiast of everything Shakespeare, hoped to discover Shakespearian heirlooms and tracked a promising lead to Clopton House, home of a Mr. Williams. To his father’s horror, Mr. Williams facetiously told Samuel he should have arrived sooner: “Why it isn’t a fortnight since I destroyed several baskets-full of letters and papers, in order to clear a small chamber for some young partridges which I wish to bring up alive: and as to Shakespeare, why there were many bundles with his name wrote upon them.” Missing the joke entirely, Samuel burst out in anger: “Good God, Sir! You do not know what an injury the world has sustained by the loss of them.”
The trip to Stratford-on-Avon and his father’s love of Shakespeare clearly inspired the 17-year-old William Henry Ireland. Two years later, in 1794, young William Henry “procured” from an anonymous gentleman a lease agreement between William Shakespeare and Michael Fraser. He presented this document to his father, who was enormously delighted. The lease was a fake, as were the dozens of other items William Henry “unearthed” during the following months. His father, though, was convinced they were authentic and in 1796 he published Miscellaneous Papers,a compilation of the forged manuscripts.
Among the forged manuscripts that William Henry “discovered” was a lost manuscript of a play titled Vortigern & Rowena. At the same time that he published the forged manuscripts, Samuel Ireland negotiated to have the lost tragedy produced at Drury-Lane. The audience was filled with doubters, including antiquarian Edmond Malone, who questioned the play’s authenticity in An Inquiry into the Authenticity of Certain Miscellaneous Papers and Legal Instruments. Even the renowned actor John Philip Kemble, playing the role of Vortigern, doubted the play’s authenticity and decided to give the tragic role a comic turn. The premiere was the play’s only performance.
The critics began to accuse Samuel Ireland of making the forgeries. Hoping to “exculpate my father from the odium which was heaped on him [instead],” William Henry published a pamphlet in late 1796, An Authentic Account of the Shaksperian Manuscripts, confessing that he forged the manuscripts. Nevertheless, it seems that Samuel Ireland thought his son a dullard and refused to believe that he had the skills to compose and write the forgeries—Samuel went to his death in 1800 still believing in the manuscripts’ veracity.
In the preface to his 1805 book, The Confessions of William Henry Ireland, William Henry wrote that he preferred that his actions be “regarded rather as that of an unthinking and impetuous boy than of a sordid and avaricious fabricator instigated by the mean desire of securing pecuniary emolument.” He describes in detail his forging methods and reiterates that he wanted to please his father with these gifts. He admits that pride in his own forging abilities led him to undertake some of the projects.
William Henry made a business of his scandal until his death in 1835. He cashed in by selling sets of “original” forgeries to collectors. One such copy of the handwritten forgeries, which originally was presented to the Prince Regent (later George IV), was acquired by the Center in the 1980s.
Conservators often study the historical background as well as technical information relating to an artifact to enhance their understanding of the artifact and to guide their treatment methodology. “At the Ransom Center, our approach to conservation treatment is usually quite conservative to safeguard physical information intrinsic to the item. Usually, we stabilize the physical structure and, sometimes, the chemical condition of a book so that patrons can safely handle the item,” says Ransom Center Book Conservator Olivia Primanis.
Originally, Inkyung planned a conservative treatment: to repair the book structure by reattaching the covers to the book with tackets, a technique that reconnects covers to the text block by looping thread through small holes that are pierced in the cover and through the shoulder of a text block. This repair would have left the book close to its original state, but the binding structure proved to be too deteriorated for a minor repair. While Inkyung was working on the book, the sewing threads broke, which required that the book be disassembled. Once apart, Inkyung mended tears in the pages and guarded the single leaves into gatherings with long-fibered Japanese paper and then resewed the book.
“This is a big job,” says Primanis, “especially when the book is large in size. This one measures 44 centimeters by 33.7 centimeters.”
Inkyung made a new cover for the book since the marbled paper covering and much of the original leather that remained were chemically deteriorated. Inkyung made the new cover with a marbled paper that had a pattern similar to the original cover and book cloth, which, today, is considered more durable than most newly made leathers.
Inkyung constructed a housing for the book that accommodates the original cover. Because deteriorated leather can stain adjacent materials, a folder was made for the original cover to protect the new binding.
Evidence of William Henry Ireland’s hoax lives on in the manuscript facsimiles and the printed publication. Because the book is working as a book should, Ransom Center patrons can now safely handle and study the forged Shakespearian manuscripts along with other texts revealing the context of these fabrications. These volumes might also be called on by those interested in background information on the recently published monograph inspired by the life of William Henry Ireland, The Tragedy of Arthur by Arthur Phillips.
Please click the thumbnails to view full-size images.