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He has stood consistently and in the face of adverse and sometimes spiteful criticism, for sound learning in dramatic art. His performances of old dramas in old costumes and without scenery; his careful research into the history of stagecraft, and the stimulus it has given to its study, have had an
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43:. Its minimal scenery, platform stage, quick scene changes and emphasis on the poetry was in direct and deliberate contrast to
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83:
24:
44:
51:'s large-set productions, and were a major influence on later staging and production of these works.
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36:
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influence on
English drama which has never received its full measure of appreciation.
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48:
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32:
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86:
runs an annual set of set of "Poel
Workshops" dedicated to the actor's aims.
56:
23:
was a theatrical society dedicated to putting on productions of
65:, a colleague through his work with the Elizabethan Society of
55:
was its stage manager in the 1920s, and its actors included
140:
Shakespearean theatre companies in the United
Kingdom
109:. London: Smith, Elder & Co. pp. 168–169.
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35:, particularly (but not exclusively) those of
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145:Performing groups established in the 1890s
155:1895 establishments in the United Kingdom
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150:Arts organizations established in 1895
7:
16:19th/20th-century theatrical society
14:
84:The Society for Theatre Research
1:
69:, says of Poel and his work:
39:. It was founded in 1895 by
106:Labour, Life and Literature
171:
103:Rogers, Frederick (1913).
21:Elizabethan Stage Society
124:William Poel Collection
126:, National Art Library
76:
45:Herbert Beerbohm Tree
53:Walter Nugent Monck
37:William Shakespeare
61:Writing in 1913,
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63:Frederick Rogers
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5:
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118:External links
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79:Poel Workshops
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33:Jacobean eras
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67:Toynbee Hall
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49:Henry Irving
41:William Poel
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29:Elizabethan
134:Categories
90:References
57:Ben Greet
27:from the
25:drama
47:and
31:and
19:The
136::
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