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This was the age of the star. For the first time in the history of the theater, the playwright took second place to the actor; the interpretation of the role assumed primary importance in a assessing a performance. It was Mr. Kean's Hamlet first, and Mr. Shakespeare's second. What effects did this highly subjective, interpretive emphasis have on the drama? Where did it originate and how did it evolve? These questions are considered at length in the author's analysis of the nature of Romanticism itself as revealed in essays, novels, criticism, and by the actors themselves. The Jacobean origins of this revolutionary period are reviewed, followed by a close scrutiny of the critical writing of such contemporary thinkers as Hazlitt, Coleridge, Shelley, and Keats. This entirely new concept provides an important link between the practical theater and the contemporary philosophical thought of the time. Originally published in 1970. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Bringing together studies in theater history, print culture, and literature, this book offers a new consideration of Romantic-period writing in Britain. Recovering a wide range of theatrical criticism from newspapers and periodicals, some of it overlooked since its original publication in Regency London, Jonathan Mulrooney explores new contexts for the work of the actor Edmund Kean, essayist William Hazlitt, and poet John Keats. Kean's ongoing presence as a figure in the theatrical news presented readers with a provocative re-imagining of personal subjectivity and a reworking of the British theatrical tradition. Hazlitt and Keats, in turn, imagined the essayist and the poet along similar theatrical lines, reframing Romantic prose and poetics. Taken together, these case studies illustrate not only theater's significance to early nineteenth-century Londoners, but also the importance of theater's textual legacies for our own re-assessment of 'Romanticism' as a historical and cultural phenomenon.
The London theatres arguably were the central cultural institutions in England during the Romantic period, and certainly were arenas in which key issues of the time were contested. While existing anthologies of Romantic drama have focused almost exclusively on “closet dramas” rarely performed on stage, The Broadview Anthology of Romantic Drama instead provides a broad sampling of works representative of the full range of the drama of the period. It includes the dramatic work of canonical Romantic poets (Samuel Coleridge’s Remorse, Percy Shelley’s The Cenci, and Lord Byron’s Sardanapalus) and important plays by women dramatists (Hannah Cowley’s A Bold Stroke for a Husband, Elizabeth Inchbald’s Every One Has His Fault, and Joanna Baillie’s Orra). It also provides a selection of popular theatrical genres—from melodrama and pantomime to hippodrama and parody—most popular in the period, featuring plays by George Colman the Younger, Thomas John Dibdin, and Matthew Gregory Lewis. In short, this is the most wide-ranging and comprehensive anthology of Romantic drama ever published. The introduction by the editors provides an informative overview of the drama and stage practices of the Romantic Period. The anthology also provides copious supplementary materials, including an Appendix of reviews and contemporary essays on the theater, a Glossary of Actors and Actresses, and a guide to further reading. Each of the ten plays has been fully edited and annotated.
This work includes Joanna Baillie's important poems and critical prefaces, the tragedies "De Montfort" and "Basil", and the comedy, "The Alienated Manor", together with substantial extracts from her other works.
Until the beginning of the 20th Century, when naturalism began to assert its powerful influence on western theatre, acting was a very different business indeed. Rather than attempting to reproduce realistic behaviour, actors conveyed their characters' feelings and intentions by using a vocabulary of minutely prescribed and highly stylised movements and gestures, each with it's own meaning and significance. In this wide-ranging, illustrated survey, Nicholas Dromgoole traces the origins and evolution of this lost 'language of gesture' from ancient Greece to the contemporary stage, and asks what it would actually have been like to watch the great plays - and the great actors - of western theatre in their own day.
Richard Brinsley Sheridan’s last play, an adaptation of August von Kotzebue’s Die Spanier in Peru first performed in 1799, was one of the most popular of the entire century. Set during the Spanish Conquest of Peru, Pizarro dramatizes English fears of invasion by Revolutionary France, but it is also surprisingly and critically engaged with Britain’s colonial exploits abroad. Pizarro is a play of firsts: the first use of music alongside action, the first collapsing set, the first production to inspire such celebratory ephemera as cartoons, portraits, postcards, even porcelain collector plates. Pizarro marks the end of eighteenth-century drama and the birth of a new theatrical culture. This edition features a comprehensive introduction and extensive appendices documenting the play’s first successful performances and global influence. It will appeal to students and scholars of Romantic literature, theatre history, post-colonialism, and Indigenous studies.
"Many nineteenth-century writers believed that the best tragedy should be read rather than performed, and they have often been attacked for their views by later critics. Through detailed analysis of Coleridge's Shakespearean Criticism, Lamb's On the Tragedies of Shakespeare, and Hazlitt's Characters of Shakespeare's Plays, Heller shows that in their concern with educating the reader these Romantics anticipate twentieth-century reader response criticism, educational theory, and film criticism."--Publishers website.
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1981.
Revealing the series of closet dramas written by Byron and Shelley to be deeply embedded in contemporary radical culture, the author explains why the dramas were written and why they invoke and apparently oppose textual and theatrical versions of themselves.