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  • Produktbild: The Oxford Handbook of the Georgian Theatre, 1737-1832
  • Produktbild: The Oxford Handbook of the Georgian Theatre, 1737-1832

The Oxford Handbook of the Georgian Theatre, 1737-1832

Aus der Reihe Oxford Handbooks

73,99 €

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Beschreibung

Produktdetails

Einband

Taschenbuch

Erscheinungsdatum

25.01.2018

Abbildungen

30 black-and-white illustrations

Herausgeber

Swindells Julia + weitere

Verlag

Oxford University Press

Seitenzahl

786

Maße (L/B/H)

24,4/17/4,2 cm

Gewicht

1310 g

Sprache

Englisch

ISBN

978-0-19-881645-4

Beschreibung

Rezension

exceptionally clear ... an indispensable teaching resource ... Showcasing the very latest research in this field in an accessible and detailed manner, and capturing all of the vibrancy and dynamism of the Georgian theatre, this Handbook will remain a vital resource for those teaching and researching Georgian culture for many years to come. David Kennerley, BARS Review

Produktdetails

Einband

Taschenbuch

Erscheinungsdatum

25.01.2018

Abbildungen

30 black-and-white illustrations

Herausgeber

Verlag

Oxford University Press

Seitenzahl

786

Maße (L/B/H)

24,4/17/4,2 cm

Gewicht

1310 g

Sprache

Englisch

ISBN

978-0-19-881645-4

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  • Produktbild: The Oxford Handbook of the Georgian Theatre, 1737-1832
  • Produktbild: The Oxford Handbook of the Georgian Theatre, 1737-1832

    • Abbreviations and Conventions

    • List of Figures

    • List of Contributors

    • Introduction

    • Theatre, Theory, Historiography

    • Enlightenment, Exclusion, and the Publics of the Georgian Theatre

    • Theorizing Audience and Spectatorial Agency

    • Theorizing the Performative Event

    • Theatre Managers and the Managing of Theatre History

    • Legislating Drama

    • The 1737 Licensing Act and its Impact

    • The Political Context of the 1737 Licensing Act

    • The Dialectics of Print and Performance after 1737

    • The 1832 Select Committee

    • Looking Towards 1843 and the End of the Monopoly

    • The Changing Cultures of Performance

    • Georgian Theories of the Actor

    • Theatrical Celebrity and the Commodification of the Actor

    • Shakespeare in the Georgian Theatre

    • Performing Variety, Packaging Difference

    • Interrogating Legitimacy in Britain and America

    • The Whole Show: Spectacles, Sounds, Spaces

    • Painting the Scene

    • Manufacturing Spectacle

    • Orchestra and Theatre Music

    • Dance and the Theatre

    • Restoring a Georgian Playhouse

    • Genres and Forms

    • Genealogies of Comedy

    • The Challenge of Tragedy

    • Pantomimic Politics

    • The Gothic Drama: Tragedy or Comedy?

    • The Writing and Staging of Georgian Romantic Opera

    • The Stages of Closet Drama

    • The Formation of Melodrama

    • Theatre and the Romantic Canon

    • The Case of Byron's Marino Faliero

    • Shelley, Viganò, and Coreodramma

    • William Godwin and the Politics of Playgoing

    • Jane Austen's Stage

    • Women and the Stage

    • Theorizing the Woman Performer

    • Women Theatre Managers

    • Women Playwrights

    • Retrieving Elizabeth Inchbald

    • Performing Race and Empire

    • Empire, Sentiment, and Theatre

    • Theatre, Islam, and the Question of Monarchy

    • The Georgian Theatre in Colonial America

    • Staging Atlantic Slavery

    • Colman's Inkle and Yarico: four perspectives

    • Historic Williamsburg: Theatre, Memory, and Colonial Slavery

    • Index