Stoker, Melodrama and the Gothic

Wynne, Catherine

doi:10.1057/9781137298997_2

Bram Stoker, Dracula and the Victorian Gothic Stage 2013

DOI: 10.1057/9781137298997_2

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Stoker, Melodrama and the Gothic

Catherine Wynne

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“…On 4 August 1888, Dr Jekyll and Mr Hyde, Thomas Sullivan and Richard Mansfield's adaptation of Robert Louis Stevenson's 1886 novella, opened at London's Lyceum theatre. 7 The production would offer the first theatrical paradigm for understanding the Whitechapel murderer. Dr Jekyll and Mr Hyde's run encompassed the period in which the five women now identified as 'canonical' Ripper victims were killed: Mary Ann Nichols (31 August), Annie Chapman (8 September), Elizabeth Stride and Catherine Eddowes (both in the early hours of 30 September), and Mary Jane Kelly (9 November).…”

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Personating the Ripper: Civilian Performance and the Melodramatic Mode

Duncan¹

2019

Nineteenth Century Theatre and Film

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This article illuminates how the Ripper murders and their 1888 coverage re-theatricalised not only London, but many provincial towns. It looks beyond canonical theatrical contexts for, and responses to the Ripper, exploring extra-theatrical, popular performance ‘scenarios’ by civilian men, outside professional sites of theatricalised or medicalised spectatorship. It examines how civilian men personated key figures in the Ripper ‘scenario’: the plain-clothes detective, the Ripper's female victims, and the Ripper himself. These civilian performances illuminate our understandings of fin-de-siècle masculinity and its intersections with the melodramatic mode in theatre and culture. Simultaneously interrogating these performances through the lenses of fin-de-siècle theatre culture, the periodical press, and the anthropology of ritual magic reveals the cultural complexities of the ‘personations’ happening in streets and homes across the United Kingdom.

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Personating the Ripper: Civilian Performance and the Melodramatic Mode

Duncan¹

2019

Nineteenth Century Theatre and Film

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Dracula – Hybridity and Metafiction

Garcia

2018

Acta Universitatis Sapientiae, Philologica

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Due to his supernatural nature, but also to his place of origin, Bram Stoker’s well-known character, Dracula, is the embodiment of Otherness. He is an image of an alterity that refuses a clear definition and a strict geographical or ontological placement and thus becomes terrifying. This refusal has determined critics from across the spectrum to place the novel in various categories from a psychoanalytical novel to a Gothic one, from a class novel to a postcolonial one, yet the discussion is far from being over. My article aims to examine this multitude of interpretations and investigate their possible convergence. It will also explore the ambivalence or even plurivalence of the character who is situated between the limit of life and death, myth and reality, historical character and demon, stereotype and fear of Otherness and attraction to the intriguing stranger, colonized and colonizer, sensationalism and palpable fin-de-siècle desperation, victim and victimizer, host and parasite, etc. In addition, it will investigate the mythical perspective that results from the confrontation between good and evil, which can be interpreted not only in the postcolonial terms mentioned above, but also in terms of the metatextual narrative technique, which converts into a meditation on how history and myth interact. Finally, it will demonstrate that, instead of being a representation of history, Bram Stoker’s novel represents a masterpiece of intergeneric hybridity that combines, among others, elements of history, myth, folktale and historical novel.1

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Stoker, Melodrama and the Gothic

Cited by 2 publications

References 1 publication

Personating the Ripper: Civilian Performance and the Melodramatic Mode

Personating the Ripper: Civilian Performance and the Melodramatic Mode

Dracula – Hybridity and Metafiction

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