Abstract
An important cultural shift in the first decades of the twentieth century is the decline and eventual demise of Victorian melodrama. In order to account for this development, critics have often related the decline of melodrama to the simultaneous rise of cinema. However, detective fiction also established itself as a major popular art form during the same period. While melodrama lost its attractive feature of spectacle to the newly evolving medium of film, it lost its attractive theme of crime and punishment to detective fiction. The dominant form of drama that was to replace Victorian melodrama was the well-made play. Within this framework of cultural shifts and trends, the crime play began to form, influenced by Victorian melodrama and detective fiction as well as by the well-made play.
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Notes
Owen Davis, I’d Like to Do It Again (New York: Farrar and Rinehart, 1931), 85.
Denis Salter, “Henry Irving, the ‘Dr Freud’ of Melodrama,” in: James Redmond (ed.), Melodrama (Themes in Drama 14, Cambridge UP, 1992), 161–182, 167.
Peter Brooks, The Melodramatic Imagination (New Haven: Yale UP, 1976), 27.
Michael R. Booth, English Melodrama (London: Jenkins, 1965), 159.
Maurice Willson Disher, Melodrama — Plots That Thrilled (London: Rockliff, 1954), 53.
James Gindin, “John Galsworthy,” in: Stanley Weintraub (ed.), Modern British Dramatists, 1900–1945 (Dictionary of Literary Biography 10, Detroit: Gale, 1982), vol. 1, 194–206, 203. Subsequently abbreviated to DLB 10.
A. A. Milne, The Fourth Wall — A Detective Story in Three Acts (London: French, 1929), n.p.
Ordean A. Hagen, Who Done It? A Guide to Detection, Mystery and Suspense Fiction (New York and London: Bowker, 1969), 471.
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© 2015 Beatrix Hesse
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Hesse, B. (2015). From Victorian Melodrama to the End of the Twenties. In: The English Crime Play in the Twentieth Century. Crime Files Series. Palgrave Macmillan, London. https://doi.org/10.1057/9781137463043_2
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DOI: https://doi.org/10.1057/9781137463043_2
Publisher Name: Palgrave Macmillan, London
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