2023
The role of mute characters and muteness in the first English melodramas
ČOUPKOVÁ, EvaZákladní údaje
Originální název
The role of mute characters and muteness in the first English melodramas
Autoři
ČOUPKOVÁ, Eva (203 Česká republika, garant, domácí)
Vydání
Hradec Králové Journal of Anglophone Studies, 2023, 2336-3347
Další údaje
Jazyk
angličtina
Typ výsledku
Článek v odborném periodiku
Obor
60204 General literature studies
Stát vydavatele
Česká republika
Utajení
není předmětem státního či obchodního tajemství
Odkazy
Kód RIV
RIV/00216224:14640/23:00130293
Organizační jednotka
Centrum jazykového vzdělávání
Klíčová slova anglicky
muteness; melodrama; tableau; Holcroft
Příznaky
Recenzováno
Změněno: 24. 3. 2024 20:24, PaedDr. Marta Holasová, Ph.D.
Anotace
V originále
Abstract: The form of melodrama arrived in England from France at the beginning of the nineteenth century and soon became a well-established and popular genre among many strata of society. Originally a working-class entertainment, it flourished within the aesthetic limits of the Licensing Act with its emphasis on music, pantomime and gesture, rather that the spoken word. The form was inaugurated in England by Thomas Holcroft who adapted René-Charles Guilbert de Pixérécourt’s melodrama Coelina; ou, l'enfant du mystère as A Tale of Mystery in 1802. In this play, following the example of Pixérécourt, Holcroft introduced the mute character Francisco, whose tragic fate and visual means of communication excited a strong emotional response from the audience. The paper discusses the historical and social conditions that enabled the spread and vogue for the genre, and reasons why muteness became a language of the stage. Then, it analyses the first English melodrama and shows how the different manifestation of muteness in the form of postures, gestures, silent tableaux and music intensified the theatrical appeal of the play. Finally, it is argued that the legacy of the first melodrama reverberated in the English theatre of the nineteenth century and the first silent films, which is illustrated by the example of the first adaptation of Frankenstein with its mute Creature.