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Reveals how England's eighteenth-century theatre dramatized anti-imperial protest, and gave voice to oppressed groups.
Dramaturgy: A Revolution in Theatre is a substantial history of the origins of dramaturgs and literary managers. It frames the explosion of professional appointments in England within a wider continental map reaching back to the Enlightenment and eighteenth-century Germany, examining the work of the major theorists and practitioners of dramaturgy, from Granville Barker and Gotthold Lessing to Brecht and Tynan. This study positions Brecht's model of dramaturgy as central to the worldwide revolution in theatre-making practices, and it also makes a substantial argument for Granville Barker's and Tynan's contributions to the development of literary management. With the territories of play and performance-making being increasingly hotly contested, and the public's appetite for new plays showing no sign of diminishing, Mary Luckhurst investigates the dramaturg as a cultural and political phenomenon.
French philosopher Jean-Jacques Rousseau wrote, 'the general effect of the theatre is to strengthen the national character to augment the national inclinations, and to give a new energy to all the passions'. During the Enlightenment, the advancement of radical ideas along with the emergence of the bourgeois class contributed to a renewed interest in theatre's efficacy, informed by philosophy yet on behalf of politics. While the 18th century saw a growing desire to define the unique and specific features of a nation's drama, and audiences demanded more realistic portrayals of humanity, theatre is also implicated in this age of revolutions. A Cultural History of Theatre in the Age of Enlightenment examines these intersections, informed by the writings of key 18th-century philosophers. Richly illustrated with 45 images, the ten chapters each take a different theme as their focus: institutional frameworks; social functions; sexuality and gender; the environment of theatre; circulation; interpretations; communities of production; repertoire and genres; technologies of performance; and knowledge transmission.
Throughout the seventeenth century, early modern play readers and playgoers copied dramatic extracts into their commonplace books, verse miscellanies, diaries, and songbooks. This is the first book to examine these often overlooked texts, which reveal what early modern audiences and readers took, literally and figuratively, from plays.
James Melton examines the rise of the public in 18th-century Europe. A work of comparative synthesis focusing on England, France and the German-speaking territories, this a reassessment of what Habermas termed the bourgeois public sphere.
A broad exploration of the collision and coexistence of classical and modernizing forces within tragic drama during the Enlightenment.
Reveals the contribution of Irish writers to the Georgian English stage; argues that theatre is an important strand of the Irish Enlightenment.
A new history that overturns the received wisdom that science displaced magic in Enlightenment Britain--named a Best Book of 2020 by the Financial Times In early modern Britain, belief in prophecies, omens, ghosts, apparitions and fairies was commonplace. Among both educated and ordinary people the absolute existence of a spiritual world was taken for granted. Yet in the eighteenth century such certainties were swept away. Credit for this great change is usually given to science - and in particular to the scientists of the Royal Society. But is this justified? Michael Hunter argues that those pioneering the change in attitude were not scientists but freethinkers. While some scientists defended the reality of supernatural phenomena, these sceptical humanists drew on ancient authors to mount a critique both of orthodox religion and, by extension, of magic and other forms of superstition. Even if the religious heterodoxy of such men tarnished their reputation and postponed the general acceptance of anti-magical views, slowly change did come about. When it did, this owed less to the testing of magic than to the growth of confidence in a stable world in which magic no longer had a place.
Carrying All Before Her recovers the stories of six eighteenth-century celebrity actresses who performed during pregnancy, melding public and private, persona and person, domestic and professional labor and helping to shape wider social, medical, and political conversations about gender, sexuality, pregnancy, and motherhood. Their stories deepen our understanding of celebrity, repertory, and theatre's connection to a wider social world, and challenge notions of women's agency and power in and beyond the professional theatre.