Abstract
This article explores how Walter Crane and fellow Arts and Crafts artists turned to theatre as a space for artistic and ideological experimentation. Focusing on the 1899 masque Beauty's Awakening and Crane's costume designs for The Snowman, it examines how performance became a medium to stage allegories of craft, politics, and aesthetic renewal. Blurring boundaries between design and drama, these productions placed the artisan at the heart of the spectacle. Through archival research and printed material such as The Studio, the article traces the performances’ visual language and their printed afterlife.
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