The Oxford Handbook of the Georgian Theatre 1737-1832

ISBN : 9780198816454

Julia Swindells; David Francis Taylor
784 ページ
171 x 246 mm
Oxford Handbooks




The Oxford Handbook of the Georgian Theatre 1737-1832 provides a comprehensive guide to theatre of the Georgian era across the range of dramatic forms.


Abbreviations 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, Vigano, 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


Julia Swindells was a writer and teacher in Cambridge. She authored Glorious Causes: The Grand Theatre of Political Change, 1789-1833 (2001), and co-edited Pickering & Chatto's edition of Eighteenth-Century Women's Theatrical Memoirs (2007-8).; David Francis Taylor is Associate Professor of English at the University of Warwick. He is the author of Theatres of Opposition: Empire, Revolution, and Richard Brinsley Sheridan (2012), as well as a number of articles on the political contexts of theatre in the Georgian period.