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This 2004 Companion is designed for readers interested in the creation, production and interpretation of Victorian and Edwardian theatre, both in its own time and on the contemporary stage. The volume opens with a brief overview and introduction surveying the theatre of the time followed by an essay contextualizing the theatre within the frame of Victorian and Edwardian culture as a whole. Succeeding chapters examine specific aspects of performance, production, and theatre, including the music, the actors, stagecraft and the audiences themselves; plays and playwriting and issues of class and gender are also explored. Chapters also deal with comedy, farce and melodrama, while other essays bring forward new topics and approaches that cross the boundaries of traditional investigation, including analysis of the economics of theatre and of the theatricality of personal identity.
Originally published in 1978. Between 1830 and 1890 the English theatre became recognisably modern. Standards of acting and presentation improved immeasurably, new playwrights emerged, theatres became more comfortable and more intimate and playgoing became a national pastime with all classes. The actor’s status rose accordingly. In 1830 he had been little better than a social outcast; by 1880 he had become a member of a skilled, relatively well-paid and respected profession which was attracting new recruits in unprecedented numbers. This is a social history of Victorian actors which seeks to show how wider social attitudes and developments affected the changing status of acting as a profession. Thus the stage’s relationship with the professional world and the other arts is dealt with and is followed by an assessment of the moral and religious background which played so decisive a part in contemporary attitudes to actors. The position of actresses in particular is given special consideration. Many non-theatrical sources are used here and there is a survey of salaries and working conditions in the theatre to show how the rising social status of the actor was matched by changes in his theatrical standing. A novel area of study is covered in tracing the changing social composition of the acting profession over the period and in exploring the case-histories of three generations of performers.
Reissuing works originally published between 1971 and 1981, this compact set offers an outstanding collection of scholarship devoted to 19th Century, Victorian, theatre. A small set of performance history and criticism, this set includes a biography of Henry Irving, a look at the rise of the status of a career as actor, and a consideration of the advent of dramatic criticism. These volumes present together a lively picture of the development of the contemporary theatre.
This volume charts the rise of professional women writers across diverse fields of intellectual enquiry and through different modes of writing in the period immediately before and during the reign of Queen Victoria. It demonstrates how, between 1830 and 1880, the woman writer became an agent of cultural formation and contestation, appealing to and enabling the growth of female readership while issuing a challenge to the authority of male writers and critics. Of especial importance were changing definitions of marriage, family and nation, of class, and of morality as well as new conceptions of sexuality and gender, and of sympathy and sensation. The result is a richly textured account of a radical and complex process of feminization whereby formal innovations in the different modes of writing by women became central to the aesthetic, social, and political formation of British culture and society in the nineteenth century.
The Oxford Handbook of Victorian Literary Culture is a major contribution to the dynamic field of Victorian studies. This collection of 37 original chapters by leading international Victorian scholars offers new approaches to familiar themes including science, religion, and gender, and gives space to newer and emerging topics including old age, fair play, and economics. Structured around three broad sections (Ways of Being: Identity and Ideology, Ways of Understanding: Knowledge and Belief, and Ways of Communicating: Print and Other Cultures), the volume is sub-divided into nine sub-sections each with its own 'lead' essay: on subjectivity, politics, gender and sexuality, place and race, religion, science, material and mass culture, aesthetics and visual culture, and theatrical culture. The collection, like today's Victorian studies, is thoroughly interdisciplinary and yet its substantial Introduction explores a concern which is evident both implicitly and explicitly in the volume's essays: that is, the nature and status of 'literary' culture and the literary from the Victorian period to the present. The diverse and wide-ranging essays present original scholarship framed accessibly for a mixed readership of advanced undergraduates, graduate students, and established scholars.