Moving Pictures, Music and Theatrical Exhibition in London, 1914-1930

经过多年的阅读，无声电影是一种远离戏剧实践的进化（Sadoul 1947, Vardac 1949, Salt 1992），近几十年来，电影学者已经开始认识和庆祝在整个无声时代，电影体验本质上是现场和戏剧的许多方式（Altman 2004, Mayer 2009, Brown 2013, Waltz 2015, Lowe 2020）。在这个新兴的理论中，需要进一步研究创意专业人士的背景和方法，包括演员和音乐家，他们提供了这些中间体验。面对不断变化的与电影展览相关的地方政府法规和决定，以及新技术和不同组织的表演空间，这些专业人士在多大程度上呼吁他们在以前的阶段工作中获得的具体实践-这些适应的实践反过来又如何塑造和影响新形式的发展？伦敦大都会资料馆（London Metropolitan Archive）中未被发掘的电影相关材料很可能为许可和立法如何与英国舞台作品和无声电影的错综复杂的传承相互作用提供了广泛的见证。这个博士项目利用这些资料，辅以额外的文本和现场研究，调查英国创意工作者的案例研究，他们的经历跨越了戏剧和电影，应用基于实践的表演视角，揭示这些工人的戏剧“体现知识”（Johnson 1989）如何与新的法规、空间和技术相互作用。将历史戏剧实践视为“模式语言”（Alexander 1979），将使该项目能够用理论的严谨性质疑和复杂化现有的电影史模型，并有可能为电影和戏剧研究提供信息。项目成果将包括一篇论文；LMA持有量的新评估与指数化学术报告和出版物；面向公众的创意外展，包括示范表演；最重要的是，贯穿始终，对鲜为人知的英国创意从业者和他们的中间成就进行了新鲜而详细的认可。

After many years of reading silent cinema as an evolution away from theatrical practices (Sadoul 1947, Vardac 1949, Salt 1992), film scholarship in recent decades has begun recognizing and celebrating the many ways filmgoing experiences were inherently live and theatrical throughout the silent era (Altman 2004, Mayer 2009, Brown 2013, Waltz 2015, Lowe 2020). Within this emerging theorisation is a need to look further into the backgrounds and methods of the creative professionals, including actors andmusicians, who delivered these intermedial experiences. Faced with constantly evolving local government regulations and decisions pertaining to film exhibition, alongside new technologies and differently organized performing spaces, to what extent did such professionals call upon specific practices they had acquired in previous stage work - and how did these adapted practices, in turn, shape and affect the development of the new form?Unexplored film-related materials at the London Metropolitan Archive are likely to provide extensive witness to how licensing and legislations interacted with the intertwined British lineages of stage work and silent cinema. This PhD project uses these holdings, augmented by additional textual and on-site research, to investigate case studies of British creative workers whose experience straddled theatre and film, applying a practical performance-based perspective to shed new light on how these workers' theatrical 'embodied knowledges' (Johnson 1989) interacted with new regulations, spaces, and technologies. Reading historical theatre practices as 'pattern languages' (Alexander 1979) will allow the project to question and complicate existing models of film history with theoretical rigour, with potential to inform both film and theatre studies.Outcomes of the project will include a dissertation; new assessment and indexing of LMA holdings; academic presentations and publications; public-facing creative outreach, including a demonstrative performance; and, above all and throughout, fresh and detailed recognition of little-known British creative practitioners and their intermedial achievements.