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Introducing readers to the key texts, theatrical practice and context of late seventeenth-century drama, David Roberts combines literary and theatrical approaches to show how Restoration plays were written, performed, received and printed. Structured according to the 'life cycle' of the dramatic text, this book reproduces extracts from twenty-four of the most influential Restoration plays to provide readers with a comprehensive and colourful introduction to the period's drama. Roberts encourages readers to look beyond a limited canon of established plays and practice, and to see how Restoration Drama has been revived and adapted on the modern stage. Restoration Plays and Players is of great interest to undergraduate and non-specialist readers of seventeenth-century drama, Restoration literature and theatre studies.
Fourteen specially commissioned essays provide essential information about staging, playwrights, themes and genres in the drama of the Restoration.
This book provides a taxonomy of prologues and epilogues with a corresponding appendix, and demonstrates through case studies of Anne Bracegirdle and Anne Oldfield how the study of prologues and epilogues enriches Restoration theater scholarship.
This book introduces students to drama from the Restoration of Charles II in 1660 to the early 18th Century. Susan Owen offers representative coverage of new forms of drama in this period, and of ways in which old forms are altered. Her study covers heroic drama, comedy, tragedy, tragi-comedy, and Shakespeare adaptations, by focusing on specific 'dramatic highlights' and giving close reading of particular plays.
Restoration Theatre and Crisis is a seminal study of the drama of the Restoration, in particular that of the Popish Plot and Exclusion Crisis. This was a time of unprecedented political partisanship in the theatre. This book cosniders all the known plays of this period, including works by Dryden and Behn, in their historical context. It examines the complex ways in which the drama both reflected and intervened in the political process, at a time when the crisis fractured an already fragile post-interregnum consensus, and modern party political methods first began to develop. Susan Owen discusses the ways in which Tory and Whig playwrights engaged in dramatic dialogue, deliberately commenting on and revising each other's themes and topics. The book also explores the arena of sexual politics, examining the political significance of themes such as disharmony in the family, and the importance of rape as a dramatic signifier of monstrosity associated with rebellion by the Tories and tyranny and popery by the Whigs. Restoration Theatre and Crisis considers the use of sexuality as a political discourse, and ways in which ideas about libertinism and constructions of masculinity and femininity intersect with political concerns in the drama. Thus the book bridges the gap between `gender-blind' political accounts and studies which have focused on gender themes in the drama in isolation from party politics.