Victorian Women And The Theatre Of Trance

Spiritualists in the nineteenth century spoke of the "Borderland," a shadowy threshold where the living communed with the dead, and where those in the material realm could receive comfort or advice from another world. The skilled performances of mostly female actors and performers made the "Borderland" a theatre, of sorts, in which dramas of revelation and recognition were produced in the forms of seances, trances, and spiritualist lectures. This book examines some of the most fascinating American and British actresses of the Victorian era, whose performances fairly mesmerized their audiences of amused skeptics and ardent believers. It also focuses on the transformative possibilities of the spiritualist theatre, revealing how the performances allowed Victorian women to speak, act, and create outside the boundaries of their restricted social and psychological roles.

Spiritualism in the Age of Sherlock Holmes and Edgar Allan Poe A woman wearing a black veil convenes a séance. A magician puts a volunteer into a trance. A fortune-teller leans over a crystal ball. Everyone knows what Victorian mysticism looks like because our modern imagery, language, and practice of magic borrows heavily from the Victorians. But we have little understanding of its spiritual, cultural, and historical foundations. What made the Victorians turn to mediumship, hypnotism, and fortune-telling? What were they afraid of? What were they seeking? This book explores the history of automatic writing, cartomancy, clairvoyance, and more. It reveals how Victorian belief in ghosts, fairies, and nature spirits shaped our celebrations of Halloween and Christmas. With historic examples and hands-on exercises, you will discover how spiritualism in the time of Jack the Ripper, Jane Eyre, "A Christmas Carol," and Dracula left such a profound impact on both the past and present.

This edited collection of essays details a wide-ranging selection of some of the most sensationally successful theatre productions of the long Victorian era, the real "blockbusters" of the age. Ranging from the world of operetta and music hall to spectacular drama and sensational melodrama, the productions included provide the reader with definitive proof that the phenomenon of the "smash hit" show is not restricted to modern Broadway. This is a world that encompassed the ground-breaking stage technology of Ben Hur, the wide political impact of Uncle Tom's Cabin and the sheer creative originality of L'Enfant Prodigue. Supporting the "star" system, productions featured some of the greatest names of the period - Sir Henry Irving, Sir Johnston Forbes Robertson, James O'Neill and Dion Boucicault. This was the very dawning of a new media age, which saw many of the productions transfer to the new world of silent cinema for the very first time

Few people know that Susanna Moodie participated in spiritual séances with her husband, Dunbar, and her sister, Catharine Parr Traill. Moodie, like many other women, found in her communications with the departed an important space to question her commitment to authorship and her understanding of femininity. Retracing the history of possession and mediumship among women following the emergence of spiritualism in mid-nineteenth-century Canada – and unearthing a vast collection of archival documents and photographs from séances – Claudie Massicotte pinpoints spiritualism as a site of conflict and gender struggle and redefines modern understandings of female agency. Trance Speakers offers a new feminist and psychoanalytical approach to the religious and creative practice of trance, arguing that by providing women with a voice for their conscious and unconscious desires, this phenomenon helped them resolve their inner struggles in a society that sought to confine their lives. Drawing attention to the fascinating history of spiritualism and its persistent appeal to women, Massicotte makes a strong case for moving this practice out of the margins of the past. A compelling new reading of spiritual possession as a response to conflicting interpretations of authorship, agency, and gender, Trance Speakers shines a much-needed light on women’s religious practices and on the history of spiritualist traditions and travels across North America and Europe.

In Supernatural Entertainments, Simone Natale vividly depicts spiritualism’s rise as a religious and cultural phenomenon and explores its strong connection to the growth of the media entertainment industry in the nineteenth century. He frames the spiritualist movement as part of a new commodity culture that changed how public entertainments were produced and consumed. Starting with the story of the Fox sisters, considered the first spiritualist mediums in history, Natale follows the trajectory of spiritualism in Great Britain and the United States from its foundation in 1848 to the beginning of the twentieth century. He demonstrates that spiritualist mediums and leaders adopted many of the promotional strategies and spectacular techniques that were being developed for the broader entertainment industry. Spiritualist mediums were indistinguishable from other professional performers, as they had managers and agents, advertised in the press, and used spectacularism to draw audiences. Addressing the overlap between spiritualism’s explosion and nineteenth-century show business, Natale provides an archaeology of how the supernatural became a powerful force in the media and popular culture of today.

Examining the automatic writing of the spiritualist séances, discursive technologies like the telegraph and the photograph, various genres and late nineteenth-century mental science, this book shows the failure of writers' attempts to use technology as a way of translating the supernatural at the fin de siècle. Hilary Grimes shows that both new technology and explorations into the ghostly aspects of the mind made agency problematic. When notions of agency are suspended, Grimes argues, authorship itself becomes uncanny. Grimes's study is distinct in both recognizing and crossing strict boundaries to suggest that Gothic literature itself resists categorization, not only between literary periods, but also between genres. Treating a wide range of authors - Henry James, Rudyard Kipling, Arthur Conan Doyle, George Du Maurier, Vernon Lee, Mary Louisa Molesworth, Sarah Grand, and George Paston - Grimes shows how fin-de-siècle works negotiate themes associated with the Victorian and Modernist periods such as psychical research, mass marketing, and new technologies. With particular attention to texts that are not placed within the Gothic genre, but which nevertheless conceal Gothic themes, The Late Victorian Gothic demonstrates that the end of the nineteenth century produced a Gothicism specific to the period.

The Female Servant and Sensation Fiction: 'Kitchen Literature' explores why Victorian sensation fiction was derided as literature fit only for maids and cooks and how the depictions of fictional female domestics, from Jane Eyre to Neo-Victorian novels, reflect contemporary social concerns about the blurring of the boundaries of class and gender.

Neo-Victorian Villains offers a varied and stimulating range of essays on the afterlives of Victorian villains in popular culture, exploring their representation and adaptation in neo-Victorian drama and fiction.