Relevant bibliographies by topics / Herbert Beerbohm Tree

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Herbert Beerbohm Tree'

Author: Grafiati
Published: 4 June 2025
Last updated: 15 July 2025

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Journal articles on the topic "Herbert Beerbohm Tree"

1

Finkel, Alicia. "Herbert Beerbohm Tree and Percy Anderson at Her Majesty's Theatre." Costume 26, no. 1 (1992): 48–59. http://dx.doi.org/10.1179/cos.1992.26.1.48.

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Pearce, Brian. "Beerbohm Tree's Production of ‘The Tempest’, 1904." New Theatre Quarterly 11, no. 44 (1995): 299–308. http://dx.doi.org/10.1017/s0266464x00009283.

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Herbert Beerbohm Tree (1853–1917) is remembered today as a great character actor, as a personality, and as a wit: but as a producer he is seldom considered an important or even a positive influence on the course of Shakespearean interpretation in the twentieth century. Focusing on Tree's 1904 production of The Tempest, Brian Pearce argues that Tree was in fact an original and inventive director. Contrasting the faint praise or contempt of theatre historians with the adoption of many of Tree's ideas in later literary criticism of The Tempest, Pearce also suggests that the acceptance of the right of contemporary experimental directors to act in effect as ‘scenic artists’ sits oddly with attitudes to Tree's work, in which he fulfilled precisely such a role. Brian Pearce completed his PhD at the University of London in 1992, and since returning to South Africa has worked as a theatre director. He is a member of the board of directors of the Durban Theatre Workshop Company, and also teaches drama at Technikon Natal.
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Jackson, Russell. "Oscar Asche: an Edwardian in Transition." New Theatre Quarterly 12, no. 47 (1996): 216–28. http://dx.doi.org/10.1017/s0266464x00010216.

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Oscar Asche is one of a number of Edwardian actor-managers who have been largely ignored by theatre historians in favour of the dominant figure of Herbert Beerbohm-Tree. Asche was one of that generation of directors, which also included Lewis Waller, Sir John Martin-Harvey, and Arthur Bourchier, who regarded the staging of pictorial productions of Shakespeare as a sign of status – a claim to be taken seriously in his profession. He had an adventurous career, representative in many respects of the energy and enterprise that characterized the Edwardian theatre – yet his work also exemplified attitudes and practices that would be discounted by a generation of playgoers enthused by different ways of interpreting Shakespearean drama, a new theatrical aesthetic, and the broader social and educational aims of the non-commercial stage. After his death in 1936, he was remembered more as the author of one of the new century's most successful romantic fantasies – Chu Chin Chow – than as a Shakespearean actor-manager. The author of this reassessment, Russell Jackson, is Deputy Director of the Shakespeare Institute, University of Birmingham. His publications include editions of plays by Wilde and Jones, and Victorian Theatre: a New Mermaid Background Book (1989). He is currently working on a study of Shakespeare in Victorian criticism and performance.
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Lawrence, Robert G. "John Ripley ed. Gilbert Parker and Herbert Beerbohm Tree Stage 'The Seats of the Mighty'John Coldwell Adams, Seated with the Mighty: A Biography of Sir Gilbert Parker." Theatre Research in Canada 9, no. 2 (1988): 207–10. http://dx.doi.org/10.3138/tric.9.2.207.

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5

Daniele, Maria Castanho Birck. "SHAKESPEARE NO CINEMA: SETE TEMPESTADES REVISITADAS." Kur'yt'yba Revista Científica do Colégio Militar de Curitiba 7 (December 1, 2015): 6–26. https://doi.org/10.5281/zenodo.8040760.

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O objetivo deste trabalho é apresentar e comentar brevemente sobre as principais adaptações cinematográficas da peça shakespeariana A tempestade (1611) no transcorrer do século XX e início do presente. As adaptações comentadas aqui são apenas uma parte dos trabalhos fílmicos que se inspiraram na peça em questão. De acordo com Lisa Hopkins, existiram pelo menos quinze versões filmadas de A tempestade (HOPKINS, 2008, p. 40). Na presente análise os filmes considerados são: The Tempest (1904-05) de Herbert Beerbohn Tree; The Tempest (1908) de Percy Stow; Forbidden Planet (1956) de Fred McLeod Wilcox; The Tempest (1979) de Derek Jarman; Tempest (1982) de Paul Mazursky; Prospero’s Books (1991) de Peter Greenaway; e The Tempest (2010) de Julie Taymor.
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Jeroen, Staring. "F. Matthias Alexander and Edwardian Actresses/Actors." International Journal of Case Studies 7, no. 2 (2018): 09–26. https://doi.org/10.5281/zenodo.3538835.

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This case study investigates anecdotes and claims about Alexander Technique founding father Frederick Matthias Alexander who allegedly „treated" numerous eminent Edwardian London actresses and actors. Research shows it is advisable to question those stories and claims.
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Dissertations / Theses on the topic "Herbert Beerbohm Tree"

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Kachur, Barbara Anne. "Herbert Beerbohm Tree : Shakespearean actor-manager /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu148726601122317.

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Schulz, David V. "Spectacular feasts : Herbert Beerbohm Tree and the mise-en-scene of consumption /." Thesis, Connect to this title online; UW restricted, 1995. http://hdl.handle.net/1773/10215.

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3

Edwards, Lydia Jenny. "Dressing the past : historical escapism' in the costume design of Herbert Beerbohm Tree productions at Her/His Majesty's Theatre, London, 1898-1912." Thesis, University of Bristol, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.550306.

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This thesis investigates historical interpretation in late nineteenth and early twentieth century stage costume, approached through a study of Herbert Beerbohm Tree's (1852- 1917) productions. The concept of 'Historical Escapism', an idea developed by the author, will be put forward as an alternative to the more commonly used 'Historical Realism' as a more suitable and all-encompassing phrase. Tree staged many historical eras and covered wildly varying themes, from Shakespearean tragedy to modem comedies. To a large extent the success of these plays depended upon the beauty of the 'stage tableaux' presented. At first glance, surviving stage photographs might seem to be perfectly straightforward representations of a given historical period. On closer inspection it becomes clear that they were, on the contrary, heavily influenced by the contemporary fashionable line-and overwhelmingly so in costume. It is in this respect that the idea of 'Historical Escapism' will be used as an academic theory. Whilst there is a wealth of information on Tree from a theatrical, performance and literary history point of view, practically no scholarly research has been undertaken from the perspective of the fashion and art historian. A practice-as-research technique will be employed here to definitively illustrate to what extent these costumes mirrored or influenced contemporary dress-and therefore how nineteenth and twentieth century practitioners referenced and re-imagined both their past and their own contemporaneousness. This thesis will look at four plays, one costume from each discussed in detail, coupled with an overview of the cultural climate into which the play was launched, and the implications of Tree's staging choices on the art and fashion of the period. Providing such an overview will lead us to a consideration of the reception of the costumes by the audience and press, with emphasis on whether the--often predicted- resurgence of historical fashions in mainstream and couture dress actually happened. Throughout, the question of how these influences were modified or exaggerated in the quest for Historical Realism, familiarity, extravagance and poignant nostalgia on the nineteenth and early twentieth century British stage will be discussed.
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Books on the topic "Herbert Beerbohm Tree"

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Parker, Gilbert. Gilbert Parker and Herbert Beerbohm Tree stage The seats of the mighty: In Washington (1896) and London (1897) : the promptbooks for the production at Her Majesty's Theatre, London, 28 April 1897. Simon & Pierre, 1986.

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2

Parker, Gilbert. Gilbert Parker and Herbert Beerbohm Tree stage The seats of the mighty: In Washington (1896) and London (1897) : the promptbooks for the production at Her Majesty's Theatre, London, 28 April 1897 ; edited, with an introduction, by John Ripley. Simon & Pierre, 1986.

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3

Herbert Beerbohm Tree. Creative Media Partners, LLC, 2023.

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4

Max, Beerbohm. Herbert Beerbohm Tree. Reprint Services Corp, 1999.

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Cran, Dudley. Herbert Beerbohm Tree. Creative Media Partners, LLC, 2018.

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6

Max, Beerbohm. Herbert Beerbohm Tree: Some Memories of Him and His Art, Collected by Max Beerbohm. Wildside Press, LLC, 2010.

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7

Lives of Shakespearian Actors, Part V, Volume 2: Herbert Beerbohm Tree, Henry Irving and Ellen Terry by Their Contemporaries. Taylor & Francis Group, 2012.

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8

Marshall, Gail, Anjna Chouhan, Katharine Cockin, and Tetsuo Kishi. Lives of Shakespearian Actors, Part V, Volume 1: Herbert Beerbohm Tree, Henry Irving and Ellen Terry by Their Contemporaries. Taylor & Francis Group, 2012.

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Lives of Shakespearian Actors, Part V Pt. V: Herbert Beerbohm Tree, Henry Irving and Ellen Terry by Their Contemporaries. Taylor & Francis Group, 2012.

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Lives of Shakespearian Actors, Part V, Volume 3: Herbert Beerbohm Tree, Henry Irving and Ellen Terry by Their Contemporaries. Taylor & Francis Group, 2012.

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Book chapters on the topic "Herbert Beerbohm Tree"

1

"Herbert and I… 1917–20." In Maud Beerbohm Tree. Modern Humanities Research Association, 2018. http://dx.doi.org/10.2307/j.ctv16kkxsf.22.

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"Sir Herbert and Lady Tree 1914–16." In Maud Beerbohm Tree. Modern Humanities Research Association, 2018. http://dx.doi.org/10.2307/j.ctv16kkxsf.20.

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Gooch, Bryan N. S., and David Thatcher. "I Henry IV." In A Shakespeare Music Catalogue. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198129417.003.0008.

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Abstract 4294 Ames, J. Carlowilz. | — |.MS [1914 whereabouts unknown ]. Incidental music. First performed His Majesty’s Theatre, London, I.J. November 1914 (Basil Gill, Henry IV; Owen Nares, Prince Henry; Herbert Beerbohm Tree, Falstaff; Dilys Jones, Lady Mortimer; Adolf Schmid, music director; Beerbohm Tree, director). According to the programme, music by Raymond R6ze was also employed [i.e., music which Roze composed for Beerbohm Tree’s 1 89b production (see 44141? |
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4

Shakespeare, Critics Theatre. "30 September 1899, Max Beerbohm (1872-1956) on Beerbohm Tree’s production of King John at Her Majesty’s Theatre, London, from The Saturday Review, reprinted in his More Theatres (1969), PP· 191-3." In Shakespeare in the Theatre. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198711773.003.0040.

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Abstract Max Beerbohm succeeded Shaw as theatre critic of The Saturday Review in May 1898, and held the post for twelve years in spite of his distaste for the task: this was the only regular work he ever did. His half-brother, Herbert Beerbohm Tree (1853-1917), controlled the Haymarket Theatre from 1887 to 1897, when he moved to Her (later His) Majesty’s. His production of King]ohn (from which the death scene forms the basis of the first ever Shakespeare film, made in 1899 and lasting two minutes) was characteristically elaborate, including a spectacular interpolated tableau of the granting of Magna Carta, which Shakespeare had failed even to mention. Beerbohm’s review is exceptional in its use of ‘disjointed sentences’ to convey his impression of the production.
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Hay, Peter. "No Acting, Please." In Movie Anecdotes. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780195045949.003.0005.

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Abstract Camera Shy Sir Herbert Beerbohm Tree, the great English actor-manager at the turn of the century, consented to act in D. W. Griffith’s version of Macbeth (1916). Unfamiliar with the medium, he turned up on the first day and pointed at the camera: ‘‘Take that black box away. I can’t act in front of it.’‘ Sarah Bernhardt was 67 when she played Marguerite Gautier in the film version of La Dame aux Camelias ( 1911). The Divine Sarah finally consented to appear on the screen because she wanted to be made immortal.
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McWilliam, Rohan. "Theatreland, 1880–1914." In London's West End. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198823414.003.0011.

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This chapter examines the period from 1880–1914 when the West End was established as theatreland. This was characterized by a huge wave of theatre building with new stages servicing the masses who were flooding into the district. Theatre was dominated by the titanic figures of Henry Irving and Herbert Beerbohm Tree. Shows would also tour, benefiting from the information that they had first been seen in the West End, thus enhancing the glamorous reputation of the district. The chapter argues that the West End stage was often conservative and reflected the values of Lord Salisbury’s Britain. It considers the West End theatre business in its different forms (including the world of the West End audience and the theatre critic) and builds to a case study of the rebuilt Her Majesty’s Theatre which exemplified many of the trends in the late-Victorian theatre world.
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7

Shakespeare, Critics Theatre. "1898, William Archer (1856-1924) on julius Caesar, produced by Herbert Beerbohm Tree (1853-1917) at Her Majesty’s Theatre, London, from The World; reprinted in his Study and Stage (1899), pp. 77-82." In Shakespeare in the Theatre. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198711773.003.0038.

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Abstract M.R. Tree’S revival of Julius Caesar is a triumphant success. The play, as I have said any time the last eighteen years, is one of the greatest acting plays in the world; and it is superbly staged, and more than adequately rendered. Mr. Tree assures me that every one prophesied failure for his venture, and thought him mad to attempt it. ‘Every one’ is a large word; but there is no doubt that the wiseacres were sceptical and discouraging. Oh, these wiseacres! Oh, these sapient meddlers and muddlers in theatrical affairs, who go about wrangling over snippets of ‘exclusive’ and generally delusive news, which they serve up in a hotchpotch of comment, compounded, in equal proportions, of servility and stupidity! Julius Caesar, they said, had never had a long run; true, for it had never been revived since the long run came in, or under conditions which made a long run possible.
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