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First published in 2000, this collection of essays focuses on women theatre artists in the romantic period.
As theatre and drama of the Romantic Period undergo a critical reassessment among scholars internationally, the contributions of women as playwrights, actresses, and managers are also being revalued. This volume, which brings together leading British, North American, and Italian critics, is a crucial step towards reclaiming the importance of women's dramatic and theatrical activities during the period. Writing for the theatre implied assuming a public role, a hazardous undertaking for women who, especially after the French Revolution, were assigned to the private, primarily domestic, sphere. As the contributors examine the covert strategies women used to become full participants in the public theatre, they shed light on the issue of women's agency, expressed both through the writing of highly politicized or ethicized drama, as in the case of Elizabeth Inchbald or Joanna Baillie, and through women's professional practice as theatre managers and stage producers, as in the case of Elizabeth Vestris and Jane Scott. Among the topics considered are women's history plays, domesticity, ethics and sexuality in women's closet drama, the politics of drama and performance, and the role of women as managers and producers. Specialists in performance studies, Romantic Period drama, and women's writing will find the essays both challenging and inspiring.
This book examines the radical changes in drama during the Romantic period, tracing how these changes affected theatre performance, acting, and audience.
During the period of European revolutions the British Romantic theatre found itself reexaming the whole cast of social and sexual relations. The five plays grouped here represent some of the most radical and unusual examples of Romantic drama: Horace Walpole invented gothic melodrama with hisincest tragedy, The Mysterious Mother (1768), and Robert Southey imagined the theatre as a site of revolutionary protest in Wat Tyler (1794). Joanna Baillie's psychological case study in aristocratic hatred, De Monfort (1768) was thought too alarming to have been written by a woman, while ElizabethInchbald's hugely successful Lovers' Vows (1798) was sufficiently subversive for Jane Austen to analyse some of its illicit potential in Mansfield Park (1814). Byron's strenuous tragedy The Two Foscari (1821) explores an inescapable conflict between parental love and political authority. The stageimagined by these writers is an arena of tense and embattled desires, with sexual and political claims mapped onto the same conflicts of power. This exciting edition is the only one of its kind and provides the first authorized texts of the plays complete with fully-researched reference to majorauthorial revision.
The Romantic Stage: A Many-Sided Mirror examines late eighteenth- and early nineteenth-century British theatre and drama with the conviction that they made an essential contribution to the aesthetic and ideological complexity of the British culture of the day. The essays collected in this volume seek to capture the richness and diversity of British Romantic theatre and drama and situate them at the centre of the multiple, and often radical, literary and social transformations that the Age brought about. The volume is divided into four main sections: “Contextualizing Romantic Theatre and Drama”, “Drama across the Arts”, “Staging the Gothic (Fear on Stage)” and “Texts, Theories and Contexts”. Each section is dedicated to a particular aspect of English Romantic drama examined through interdisciplinary, international and inter-generic perspectives.
In this book, Albert W. Halsall presents the first complete treatment in English of Hugo's plays - a history, plot summary, and detailed analysis of all the dramas, from Cromwel and Torquemada to the juvenilia and the epic melodrama Les Burgraves.
This 2001 book examines how Romantic women performers and playwrights used theatrical conventions to intervene in politics.
English Romanticism has long been considered an 'undramatic' and 'anti-theatrical' age, yet Wordsworth, Coleridge, Byron, Shelley and Keats all wrote plays and viewed them as central to England's poetic and political reform. In the Theatre of Romanticism analyses these plays, in the context of London theatre at the time, and argues that Romantic discourse on theatre is crucial to constructions of nationhood in the period. The book focuses primarily on Coleridge and on the middle stage of his career, during which he wrote most extensively for and about the theatre. But its discussion of anxieties about women in Coleridge's plays applies just as forcefully to the history plays of the second-generation romantic poets, and to the best-known romantic writers on theatre: Hazlitt, Hunt and Lamb. Unlike the few existing studies of romantic drama, this study considers the plays not as closet drama or 'mental theatre', but as theatrical contributions to the debate sparked off by the Revolution in France.
Based on the author's thesis (Ph.D., Anglia Ruskin University).
A rich, historically grounded exploration of why theater and performance matter in the modern world