By Diane Piccitto
Blake's Drama demanding situations traditional perspectives of William Blake's multimedia paintings through reinterpreting it as theatrical functionality. seen in its dramatic contexts, this paintings shape is proven to impress an lively spectatorship and to depict identification as ironically crucial and developed, revealing Blake's investments in drama, motion, and the physique.
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Additional resources for Blake’s Drama: Theatre, Performance and Identity in the Illuminated Books
In terms of the former, scholars such as Viscomi and Michael Phillips have attempted to reconstruct his actual method, which is as elusive as theatrical performance. These attempts similarly reveal the problem of origin that exists, for instance, with the plays of Shakespeare. Performance scholarship shifts the focus from the page to the stage. 29 Both performance and Blake’s particular engraving technique can only be approximated by making use of the remaining material traces and first-hand accounts; they necessitate action and emulation to reconstruct them.
1, E 51). At the end of his speech, he admits, ‘when thou bringest food / I howl my joy: and my red eyes seek to behold thy face / In vain! 18–20). Immediately 33 Illustration 1 Blake, America a Prophecy, copy E, title page, plate ii, object 2, 1793. Lessing J. Rosenwald Collection, Library of Congress. Copyright © 2013 William Blake Archive. Used with permission. 3, E 52), beginning the (violent) act that sets the rest of the events of the poem in motion. His need to see her finally enables him to destroy his own shackles.
Indeed, the Illuminated Books exhibit a performative energy and function as stage dramas, particularly in the way they present word and image together rather than clearly separating them. 24 America makes a fitting case study because it has all the elements I highlight in this chapter. In terms of the whole, a specifically dramatic structure is evident, as is the case with many of the illuminated works, linking it to the composition of an actual night at the theatre in the Romantic period. Jeffrey N.