ABSTRACT
This chapter focuses the relationship between Ellen Terry's Lyceum roles and the configuration of females in Stoker's fiction. The Burne-Jones's letter to Stoker is also tied to the artist's most famous and controversial painting, The Vampire. The vampire in Burne-Jones's painting was allegedly modelled on the actress Stella Campbell. The chapter also argues that Stoker's fiction needs to be located within the environment of production at the Lyceum in which melodrama is paramount. Stoker projects a melodramatic self in Personal Reminiscences. The Stoker's fiction equally responds to the multiplicity of melodramatic selves, both on and off the stage. The chapter also discusses the Lyceum's Faust and Ravenswood and Stoker's fictional and non-fictional writings, particularly Snowbound: The Record of a Theatrical Company, to explore the relationships between stage and text and the fiction's incorporation of gothic and melodramatic performance, with particular focus on the representation of women on stage and in fiction.
