Ingomar the Barbarian (play)

In this article, we want to explore and analyze the impact that Ingomar the Barbarian (play) has had on different aspects of society. Since its emergence, Ingomar the Barbarian (play) has aroused great interest and controversy, generating debates in various areas. In this sense, it is relevant to examine the different points of view that exist around Ingomar the Barbarian (play), as well as its influence in fields as diverse as politics, culture, technology and economics. Likewise, we propose to examine how Ingomar the Barbarian (play) has managed to position itself as a phenomenon that has marked a before and after, creating trends and innovations that have transformed the way we perceive and approach the world around us.
Ingomar the Barbarian
Written byMaria Ann Lovell
Date premiered9 June 1851
Place premieredTheatre Royal, Drury Lane, London
Original languageEnglish
GenreHistorical
SettingMassilia, Antiquity

Ingomar the Barbarian is an 1851 historical play by the British writer and former actress Maria Ann Lovell. It was based on the German play Der Sohn der Wildnis by Friedrich Halm.[1] It premiered at the Theatre Royal, Drury Lane on 9 June 1851. The original cast included John Garside Neville as the Timarch of Masillia, James Robertson Anderson as Ingomar and Charlotte Vandenhoff as Parthenia. It appeared frequently on the American stage for the remainder of the nineteenth century.

Mary Anderson as Parthenia in 1883.

Adaptation

In 1908 it provided the basis for the American short silent film Ingomar, the Barbarian directed by D. W. Griffith.[2]

References

  1. ^ Jackson p.
  2. ^ Mayer p.278

Bibliography

  • Jackson, Allan Stuart. The Standard Theatre of Victorian England. Fairleigh Dickinson Univ Press, 1993.
  • Mayer, David. Stagestruck Filmmaker: D. W. Griffith and the American Theatre. University of Iowa Press, 2009.