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Full Description
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 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 the performance of race and empire. In doing so, it shows the centrality of theatre 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 of class, race, and gender.
Contents
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, 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
