Magie en wetenschap in de spektakelcultuur van de negentiende eeuw
Magic and Science in the Nineteenth-century Culture of Spectacle: Henri Robin in the Low Countries. The theatre of modernity served to illuminate scientific insight and discovery in a spectacular way. Astronomy, physics, and experiments with electricity were at the heart of a popular genre that beca...
| Main Authors: | , |
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| Format: | Article |
| Language: | English |
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Netherlands Institute for Sound and Vision
2017-01-01
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| Series: | Tijdschrift voor Mediageschiedenis |
| Online Access: | https://www.tmgonline.nl/article/10.18146/2213-7653.2017.330/ |
| _version_ | 1818114129468063744 |
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| author | Vanhoutte, Kurt Wynants, Nele |
| author_facet | Vanhoutte, Kurt Wynants, Nele |
| author_sort | Vanhoutte, Kurt |
| collection | DOAJ |
| description | Magic and Science in the Nineteenth-century Culture of Spectacle: Henri Robin in the Low Countries. The theatre of modernity served to illuminate scientific insight and discovery in a spectacular way. Astronomy, physics, and experiments with electricity were at the heart of a popular genre that became known as ‘physiques amusantes’ (amusing physics). These shows occupied a middle ground between entertainment and science, between showing and doing. They were often staged by magicians, who presented themselves as ‘professors’ and awed audiences at local fairgrounds, world’s fairs, and popular theatres. One such figure was Henri Robin (1811–1974). Reviews and images dating from Robin’s time in Belgium and the Netherlands and his own memoirs of his time in Paris reveal that he found himself at the crossroads of a number of key developments. In particular, Robin’s theatre practices shed light on the changing nature of spectacle in the latter half of the nineteenth century. His shows succeeded in maintaining a precarious balance between spectacle-driven entertainment and scientific learning, between visually-oriented fairground amusement for the masses and educational fare for the new bourgeoisie. This article will discuss the complex relationship between aesthetic and didactic concerns in Henri Robin’s theatre shows, their remarkable blend of science and magic, and their effect on audiences. At the same time, we will demonstrate that the spectacle of modernity in the Low Countries resulted in part from the international mobility of showmen such as Robin. |
| first_indexed | 2024-12-11T03:45:49Z |
| format | Article |
| id | doaj.art-bbbae26bc4a541e4b50347e53b493d68 |
| institution | Directory Open Access Journal |
| issn | 2213-7653 |
| language | English |
| last_indexed | 2024-12-11T03:45:49Z |
| publishDate | 2017-01-01 |
| publisher | Netherlands Institute for Sound and Vision |
| record_format | Article |
| series | Tijdschrift voor Mediageschiedenis |
| spelling | doaj.art-bbbae26bc4a541e4b50347e53b493d682022-12-22T01:22:02ZengNetherlands Institute for Sound and VisionTijdschrift voor Mediageschiedenis2213-76532017-01-012023010.18146/2213-7653.2017.330Magie en wetenschap in de spektakelcultuur van de negentiende eeuwVanhoutte, KurtWynants, NeleMagic and Science in the Nineteenth-century Culture of Spectacle: Henri Robin in the Low Countries. The theatre of modernity served to illuminate scientific insight and discovery in a spectacular way. Astronomy, physics, and experiments with electricity were at the heart of a popular genre that became known as ‘physiques amusantes’ (amusing physics). These shows occupied a middle ground between entertainment and science, between showing and doing. They were often staged by magicians, who presented themselves as ‘professors’ and awed audiences at local fairgrounds, world’s fairs, and popular theatres. One such figure was Henri Robin (1811–1974). Reviews and images dating from Robin’s time in Belgium and the Netherlands and his own memoirs of his time in Paris reveal that he found himself at the crossroads of a number of key developments. In particular, Robin’s theatre practices shed light on the changing nature of spectacle in the latter half of the nineteenth century. His shows succeeded in maintaining a precarious balance between spectacle-driven entertainment and scientific learning, between visually-oriented fairground amusement for the masses and educational fare for the new bourgeoisie. This article will discuss the complex relationship between aesthetic and didactic concerns in Henri Robin’s theatre shows, their remarkable blend of science and magic, and their effect on audiences. At the same time, we will demonstrate that the spectacle of modernity in the Low Countries resulted in part from the international mobility of showmen such as Robin.https://www.tmgonline.nl/article/10.18146/2213-7653.2017.330/ |
| spellingShingle | Vanhoutte, Kurt Wynants, Nele Magie en wetenschap in de spektakelcultuur van de negentiende eeuw Tijdschrift voor Mediageschiedenis |
| title | Magie en wetenschap in de spektakelcultuur van de negentiende eeuw |
| title_full | Magie en wetenschap in de spektakelcultuur van de negentiende eeuw |
| title_fullStr | Magie en wetenschap in de spektakelcultuur van de negentiende eeuw |
| title_full_unstemmed | Magie en wetenschap in de spektakelcultuur van de negentiende eeuw |
| title_short | Magie en wetenschap in de spektakelcultuur van de negentiende eeuw |
| title_sort | magie en wetenschap in de spektakelcultuur van de negentiende eeuw |
| url | https://www.tmgonline.nl/article/10.18146/2213-7653.2017.330/ |
| work_keys_str_mv | AT vanhouttekurt magieenwetenschapindespektakelcultuurvandenegentiendeeeuw AT wynantsnele magieenwetenschapindespektakelcultuurvandenegentiendeeeuw |