Description
Book SynopsisThe Oxford Handbook of the Georgian Theatre 1737-1832 provides an essential guide to theatre in Britain between the passing of the Stage Licensing Act in 1737 and the Reform Act of 1832 a period of drama long neglected but now receiving significant scholarly attention. Written by specialists from a range of disciplines, its forty essays both introduce students and scholars to the key texts and contexts of the Georgian theatre and also push the boundaries of the field, asking questions that will animate the study of drama in the eighteenth and early nineteenth centuries for years to come. The Handbook gives equal attention to the range of dramatic forms not just tragedy and comedy, but the likes of melodrama and pantomime as they developed and overlapped across the period, and to the occasions, communities, and materialities of theatre production. It includes sections on historiography, the censorship and regulation of drama, theatre and the Romantic canon, women and the stage, and t
Trade Reviewexceptionally clear ... an indispensable teaching resource ... Showcasing the very latest research in this field in an accessible and detailed manner, and capturing all of the vibrancy and dynamism of the Georgian theatre, this Handbook will remain a vital resource for those teaching and researching Georgian culture for many years to come. * David Kennerley, BARS Review *
The Oxford Handbook of the Georgian Theatre 1737-1832 is a superb achievement, not only because it is the most comprehensive guide to the period's theatre to date, but also because it showcases a fine and fascinating body of intellectual work--one that extends well beyond its pages and is changing how we view theatre and drama, from the Licensing Act through the Romantic era. * Terry F. Robinson, Eighteenth-Century Fiction *
Beautifully illustrated, lucidly organized, and, above all, powerfully argued, The Oxford Handbook of Georgian Theatre 17371832 provides not only an authoritative reference guide, but a compelling read from cover to cover. * Susan Vallandares, Review of English Studies *
Table of ContentsAbbreviations and Conventions List of Figures List of Contributors David Francis Taylor: Introduction Theatre, Theory, Historiography Angie Sandhu: Enlightenment, Exclusion, and the Publics of the Georgian Theatre Betsy Bolton: Theorizing Audience and Spectatorial Agency Marvin Carlson: Theorizing the Performative Event David Francis Taylor: Theatre Managers and the Managing of Theatre History Legislating Drama David Thomas: The 1737 Licensing Act and its Impact Julia Swindells: The Political Context of the 1737 Licensing Act Matthew J. Kinservik: The Dialectics of Print and Performance after 1737 Katherine Newey: The 1832 Select Committee Jim Davis: Looking Towards 1843 and the End of the Monopoly The Changing Cultures of Performance Frederick Burwick: Georgian Theories of the Actor Heather McPherson: Theatrical Celebrity and the Commodification of the Actor Gefen Bar-On Santor: Shakespeare in the Georgian Theatre Kristina Straub: Performing Variety, Packaging Difference Peter P. Reed: Interrogating Legitimacy in Britain and America The Whole Show: Spectacles, Sounds, Spaces Kathryn R. Barush: Painting the Scene Shearer West: Manufacturing Spectacle Vanessa L. Rogers: Orchestra and Theatre Music Erin J. Smith: Dance and the Theatre Colin Blumenau: Restoring a Georgian Playhouse Genres and Forms Misty G. Anderson: Genealogies of Comedy Felicity Nussbaum: The Challenge of Tragedy John O'Brien: Pantomimic Politics Jeffrey N. Cox: The Gothic Drama: Tragedy or Comedy? Michael Burden: The Writing and Staging of Georgian Romantic Opera Catherine Burroughs: The Stages of Closet Drama Matthew S. Buckley: The Formation of Melodrama Theatre and the Romantic Canon John Gardner: The Case of Byron's Marino Faliero Jacqueline Mulhallen: Shelley, Viganò, and Coreodramma David O'Shaughnessy: William Godwin and the Politics of Playgoing Penny Gay: Jane Austen's Stage Women and the Stage Helen E. M. Brooks: Theorizing the Woman Performer Thomas C. Crochunis: Women Theatre Managers Marjean D. Purinton: Women Playwrights Paula R. Backscheider: Retrieving Elizabeth Inchbald Performing Race and Empire Bridget Orr: Empire, Sentiment, and Theatre Daniel O'Quinn: Theatre, Islam, and the Question of Monarchy Odai Johnson: The Georgian Theatre in Colonial America Prathibha Kanakamedala: Staging Atlantic Slavery Nandini Bhattacharya, Mita Choudhury, Frank Felsenstein, Jean I. Marsden: Colman's Inkle and Yarico: four perspectives Marcus Wood: Historic Williamsburg: Theatre, Memory, and Colonial Slavery Index
