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The English Stage tells the story of drama through its many changes in style and convention from medieval times to the present day. With a wide sweep of coverage, John Styan analyses the key features of staging, including early street theatre and public performance, the evolution of the playhouse and the private space, and the pairing of theory and stagecraft in the works of modern dramatists. He focuses on the conventions by which a playwright, actors and their audience create the phenomenon of theatre and the way such conventions have changed over time. Styan can be considered among a small number of influential scholars who have helped to develop theatre history from its origins in literary studies into an independent and respected field. From the vantage point of a lifetime's study he examines and illustrates the multitude of factors which have brought and continue to bring plays to life.
Twenty-six original essays by leading theorists and historians of the pre-seventeenth-century English stage chart a paradigmatic shift within the field. In contrast to the traditional emphasis on individual authors, the contributors to this storehouse of new historical information and critical insight explore the place of the stage within the larger society, as well as issues of performance and physical space, providing an innovative approach to both literary studies and cultural history.
A Short View of the Immorality, and Profaneness of the English Stage is a book by Jeremy Collier. It provides several lengthy and meticulously sharp analyzations of Ancient well known theatrical plays.
This volume explores the multiple connections between contemporary British theatre and the medieval and early modern periods. Involving both French and British scholars, as well as playwrights, adapters and stage directors, its scope is political, as it assesses the power of adaptations and history plays to offer a new perspective not only on the past and present, but also on the future. Along the way, burning contemporary social and political issues are explored, such as the place and role of women and ethnic minorities in today’s post-Brexit Britain. The volume builds into a dialogue between the ghosts of the past and their contemporary spectators. Starting with a focus on contemporary adaptations of Shakespeare’s plays, then concentrating on contemporary history plays set in the distant past, and ending with the contributions of famous playwrights sharing their experience, the book will be of interest to practitioners, as well as students and researchers in drama and performance studies.
Empire on the English Stage 1660-1714 analyzes Restoration and early eighteenth-century drama in terms of empire.
2020 Choice​ Outstanding Academic Title Marcie Frank’s study traces the migration of tragicomedy, the comedy of manners, and melodrama from the stage to the novel, offering a dramatic new approach to the history of the English novel that examines how the collaboration of genres contributed to the novel’s narrative form and to the modern organization of literature. Drawing on media theory and focusing on the less-examined narrative contributions of such authors as Aphra Behn, Frances Burney, and Elizabeth Inchbald, alongside those of Samuel Richardson, Henry Fielding, and Jane Austen, The Novel Stage tells the story of the novel as it was shaped by the stage. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
An original investigation into conjuring tricks and stage magic on the medieval stage.
An annotated collection of more than 300 unusually interesting and detailed passages includes views by observers from ancient Greece to modern times on acting, directing, make-up, costuming, props, much more.
Disguise devices figure in many early modern English plays, and an examination of them clearly affords an important reflection on the growth of early theatre as well as on important aspects of the developing nation. In this study Peter Hyland considers a range of practical issues related to the performance of disguise. He goes on to examine various conceptual issues that provide a background to theatrical disguise (the relation of self and "other", the meaning of mask and performance). He looks at many disguise plays under three broad headings. He considers moral issues (the almost universal association of disguise with "evil"); social issues (sumptuary legislation, clothing, and the theatre, and constructions of class, gender and national or racial identity); and aesthetic issues (disguise as an emblem of theatre, and the significance of disguise for the dramatic artist). The study serves to examine the significant ways in which disguise devices have been used in early modern drama in England.