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This study of farce and low comedy in the English theatre covers the period in which farce as a distinct genre had its beginning. Originally published in 1956. 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.
In 1988 Iain McCalman's seminal work, Radical Underworld, unravelled the complex and clandestine revolutionary networks of democrats that operated in London between 1790 and the beginnings of Chartism, to reveal an urban underworld of prophets, infidels, pornographers and rogue preachers where powerful satirical and subversive subcultures were developed. This present volume reflects and builds upon the diversity of McCalman's discoveries, to present fresh insights into the culture and operation of popular politics in the 'age of reform'. It is a coherent and integrated treatment of the subject that offers a window into this 'unrespectable' underworld and questions whether it was a blackguard subculture or a more complex and rich counter-culture with powerful literary, legal and political implications. This book brings together an international team of experienced scholars to explore the concepts and subjects pioneered by McCalman. The volume presents a focused and coherent review of popular politics, from the meeting rooms of a reform society and the theatre stage, to the forum of the courtroom and the depths of prison.
Glorious Causes explores the politics of theatricality and the theatricality of politics in late Georgian Britain, at a time when the British nation can be described as a stage for reform. Political rhetoric during this period was characterized by a rich vocabulary, drawing on theatrical language and forms, from melodrama and tragedy, to comedy and burlesque. Most importantly, activity in the theaters themselves, often dismissed until recently as vulgar or sentimental, was highly charged with political dynamic and controversy, central to the drama of reform.
In the nineteenth century, copyright law expanded to include performances of theatrical and musical works. These laws transformed how people made and consumed performances. Exploring precedent-setting litigation on both sides of the Atlantic, this book traces how courts developed definitions of theater and music to suit new performance rights laws. From Gilbert and Sullivan battling to protect The Mikado to Augustin Daly petitioning to control his spectacular 'railroad scene', artists worked with courts to refine vague legal language into clear, functional theories of drama, music, and performance. Through cases that ensnared figures including Lord Byron, Laura Keene, and Dion Boucicault, this book discovers how the law theorized central aspects of performance including embodiment, affect, audience response, and the relationship between scripts and performances. This history reveals how the advent of performance rights reshaped how we value performance both as an artistic medium and as property.
The first comprehensive academic survey of British musical theatre from its origins, The Oxford Handbook of the British Musical offers both a historical account of musical theatre from 1728 and a range of in-depth critical analyses of key works and productions that illustrate its aesthetic values and sociocultural meanings.
The Oxford Handbook of the Georgian Theatre 1737-1832 provides a comprehensive guide to theatre of the Georgian era across the range of dramatic forms.