Description
Oxford The Oxford Handbook of the Georgian Theatre 1737-1832 2018 Edition by Julia Swindells, David Francis Taylor
The 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 boundariesof 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 the performance of race and empire. In doing so, it shows the centrality oftheatre to Georgian culture and politics, and paints a picture of a stage defined by generic fluidity and experimentation; by networks of performance that spread far beyond London; by professional women who played pivotal roles in every aspect of production; and by its complex mediation of contemporary attitudes ofclass, race, and gender. Table of contents : - Abbreviations and ConventionsList of FiguresList of ContributorsDavid Francis Taylor: IntroductionTheatre, Theory, HistoriographyAngie Sandhu: Enlightenment, Exclusion, and the Publics of the Georgian TheatreBetsy Bolton: Theorizing Audience and Spectatorial AgencyMarvin Carlson: Theorizing the Performative EventDavid Francis Taylor: Theatre Managers and the Managing of Theatre HistoryLegislating DramaDavid Thomas: The 1737 Licensing Act and its ImpactJulia Swindells: The Political Context of the 1737 Licensing ActMatthew J. Kinservik: The Dialectics of Print and Performance after 1737Katherine Newey: The 1832 Select CommitteeJim Davis: Looking Towards 1843 and the End of the MonopolyThe Changing Cultures of PerformanceFrederick Burwick: Georgian Theories of the ActorHeather McPherson: Theatrical Celebrity and the Commodification of the ActorGefen Bar-On Santor: Shakespeare in the Georgian TheatreKristina Straub: Performing Variety, Packaging DifferencePeter P. Reed: Interrogating Legitimacy in Britain and AmericaThe Whole Show: Spectacles, Sounds, SpacesKathryn R. Barush: Painting the SceneShearer West: Manufacturing SpectacleVanessa L. Rogers: Orchestra and Theatre MusicErin J. Smith: Dance and the TheatreColin Blumenau: Restoring a Georgian PlayhouseGenres and FormsMisty G. Anderson: Genealogies of ComedyFelicity Nussbaum: The Challenge of TragedyJohn O'Brien: Pantomimic PoliticsJeffrey N. Cox: The Gothic Drama: Tragedy or Comedy?Michael Burden: The Writing and Staging of Georgian Romantic OperaCatherine Burroughs: The Stages of Closet DramaMatthew S. Buckley: The Formation of MelodramaTheatre and the Romantic CanonJohn Gardner: The Case of Byron's Marino FalieroJacqueline Mulhallen: Shelley, Vigano, and CoreodrammaDavid O'Shaughnessy: William Godwin and the Politics of PlaygoingPenny Gay: Jane Austen's StageWomen and the StageHelen E. M. Brooks: Theorizing the Woman PerformerThomas C. Crochunis: Women Theatre ManagersMarjean D. Purinton: Women PlaywrightsPaula R. Backscheider: Retrieving Elizabeth InchbaldPerforming Race and EmpireBridget Orr: Empire, Sentiment, and TheatreDaniel O'Quinn: Theatre, Islam, and the Question of MonarchyOdai Johnson: The Georgian Theatre in Colonial AmericaPrathibha Kanakamedala: Staging Atlantic SlaveryNandini Bhattacharya, Mita Choudhury, Frank Felsenstein, Jean I. Marsden: Colman's Inkle and Yarico: four perspectivesMarcus Wood: Historic Williamsburg: Theatre, Memory, and Colonial SlaveryIndex