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This study overturns twentieth-century thinking about pasticcio opera. This radical way of creating opera formed a counterweight, even a relief, to the trenchant masculinity of literate culture in the seventeenth century. It undermined the narrowing of nationalism in the eighteenth century, and was an act of gross sacrilege against the cult of Romantic genius in the nineteenth century. In the twentieth century, it found itself on the wrong side of copyright law. However, in the twenty-first century it is enjoying a tentative revival. This book redefines pasticcio as a method rather than a genre of opera and aligns it with other art forms which also created their works from pre-existing parts, including sculpture. A pasticcio opera is created from pre-existing music and text, thus flying in face of insistence on originality and creation by a solo genius.
In 1710, England’s first copyright law gave authors the ability to own their works, but it was not until 1833 that literary property law was extended to protect dramatic performance. Between these dates, generations of playwrights grappled for control over their intellectual property in a cultural and legal environment that treated print differently from performance. As ownership became a central concern for many, actors fought to possess their dramatic parts exclusively, playwrights struggled to control and profit from repeat performances of their works, and managers tried to gain a monopoly over the performance of profitable plays. Owning Performance follows the careers of some of the 18th century’s most influential playwrights, actors, and theater managers as they vied for control over the period’s most popular shows. Without protection for dramatic literary property, these figures developed creative extra-legal strategies for controlling the performance of drama—quite literally performing their ownership. Their various strategies resulted in a culture of ephemerality, with many of the period’s most popular works existing only in performance and manuscript copies. Author Jane Wessel explores how playwrights and actors developed strategies for owning their works and how, in turn, theater managers appropriated these strategies, putting constant pressure on artists to innovate. Owning Performance reveals the wide-reaching effects of property law on theatrical culture, tracing a turn away from print that affected the circulation, preservation, and legacy of 18th century drama.
Colonization, slavery, traffic in women, and connoisseurship seem to have particularly captured the imaginations of circumatlantic writers of the later eighteenth century. In this book, Nandini Bhattacharya examines the works of such writers as Richard Brinsley Sheridan, George Colman Jr., James Cobb and Phillis Wheatley, who redefined ideas about Value and Taste. Writers re-presented the ethical debate on Value and trade through aesthetic metaphors and discourse, thus disguising the distasteful nature of the ownership and exchange of human beings and mitigating the guilt associated with that traffic. Bhattacharya explores the circumatlantic redefinition of Taste and Value as cultural and moral concepts in gender and racial discourses in slave-owning, colonizing, and connoisseurial Britain, and demonstrates how Value and aesthetics were redefined in late eighteenth-century circumatlantic discourses with particular focus on the language of slavery, trade and connoisseurship. She also delineates the workings of transnational consciousness and experience of race, class, gender, slavery, colonialism and connoisseurship in the late eighteenth-century circumatlantic rim. Throughout the study, Bhattacharya rereads late eighteenth-century British literature as a stage for the articulation of theories of difference and domination.