Time In Romantic Theatre
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| Author | : Frederick Burwick |
| Publisher | : Springer Nature |
| Total Pages | : 305 |
| Release | : 2022-06-01 |
| Genre | : Performing Arts |
| ISBN | : 303096079X |
The shift in temporal modalities of Romantic Theatre was the consequence of internal as well as external developments: internally, the playwright was liberated from the old imperative of “Unity of Time” and the expectation that the events of the play must not exceed the hours of a single day; externally, the new social and cultural conformance to the time-keeping schedules of labour and business that had become more urgent with the industrial revolution. In reviewing the theatre of the Romantic era, this monograph draws attention to the ways in which theatre reflected the pervasive impact of increased temporal urgency in social and cultural behaviour. The contribution this book makes to the study of drama in the early nineteenth century is a renewed emphasis on time as a prominent element in Romantic dramaturgy, and a reappraisal of the extensive experimentation on how time functioned.
| Author | : Keir Elam |
| Publisher | : Routledge |
| Total Pages | : 409 |
| Release | : 2016-12-05 |
| Genre | : Literary Criticism |
| ISBN | : 1351871188 |
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.
| Author | : Jeffrey N. Cox |
| Publisher | : Broadview Press |
| Total Pages | : 457 |
| Release | : 2003-02-05 |
| Genre | : Drama |
| ISBN | : 1551112981 |
The London theatres arguably were the central cultural institutions in England during the Romantic period, and certainly were arenas in which key issues of the time were contested. While existing anthologies of Romantic drama have focused almost exclusively on “closet dramas” rarely performed on stage, The Broadview Anthology of Romantic Drama instead provides a broad sampling of works representative of the full range of the drama of the period. It includes the dramatic work of canonical Romantic poets (Samuel Coleridge’s Remorse, Percy Shelley’s The Cenci, and Lord Byron’s Sardanapalus) and important plays by women dramatists (Hannah Cowley’s A Bold Stroke for a Husband, Elizabeth Inchbald’s Every One Has His Fault, and Joanna Baillie’s Orra). It also provides a selection of popular theatrical genres—from melodrama and pantomime to hippodrama and parody—most popular in the period, featuring plays by George Colman the Younger, Thomas John Dibdin, and Matthew Gregory Lewis. In short, this is the most wide-ranging and comprehensive anthology of Romantic drama ever published. The introduction by the editors provides an informative overview of the drama and stage practices of the Romantic Period. The anthology also provides copious supplementary materials, including an Appendix of reviews and contemporary essays on the theater, a Glossary of Actors and Actresses, and a guide to further reading. Each of the ten plays has been fully edited and annotated.
| Author | : Matthew Wagner |
| Publisher | : Routledge |
| Total Pages | : 181 |
| Release | : 2013-03-01 |
| Genre | : Performing Arts |
| ISBN | : 1136661638 |
That Shakespeare thematized time thoroughly, almost obsessively, in his plays is well established: time is, among other things, a 'devourer' (Love's Labour's Lost), one who can untie knots (Twelfth Night), or, perhaps most famously, simply ‘out of joint’ (Hamlet). Yet most critical commentary on time and Shakespeare tends to incorporate little focus on time as an essential - if elusive - element of stage praxis. This book aims to fill that gap; Wagner's focus is specifically performative, asking after time as a stage phenomenon rather than a literary theme or poetic metaphor. His primary approach is phenomenological, as the book aims to describe how time operates on Shakespearean stages. Through philosophical, historiographical, dramaturgical, and performative perspectives, Wagner examines the ways in which theatrical activity generates a manifest presence of time, and he demonstrates Shakespeare’s acute awareness and manipulation of this phenomenon. Underpinning these investigations is the argument that theatrical time, and especially Shakespearean time, is rooted in temporal conflict and ‘thickness’ (the heightened sense of the present moment bearing the weight of both the past and the future). Throughout the book, Wagner traces the ways in which time transcends thematic and metaphorical functions, and forms an essential part of Shakespearean stage praxis.
| Author | : Jeffrey N. Cox |
| Publisher | : Broadview Press |
| Total Pages | : 420 |
| Release | : 2003-02-05 |
| Genre | : Drama |
| ISBN | : 1770484981 |
The London theatres arguably were the central cultural institutions in England during the Romantic period, and certainly were arenas in which key issues of the time were contested. While existing anthologies of Romantic drama have focused almost exclusively on “closet dramas” rarely performed on stage, The Broadview Anthology of Romantic Drama instead provides a broad sampling of works representative of the full range of the drama of the period. It includes the dramatic work of canonical Romantic poets (Samuel Coleridge’s Remorse, Percy Shelley’s The Cenci, and Lord Byron’s Sardanapalus) and important plays by women dramatists (Hannah Cowley’s A Bold Stroke for a Husband, Elizabeth Inchbald’s Every One Has His Fault, and Joanna Baillie’s Orra). It also provides a selection of popular theatrical genres—from melodrama and pantomime to hippodrama and parody—most popular in the period, featuring plays by George Colman the Younger, Thomas John Dibdin, and Matthew Gregory Lewis. In short, this is the most wide-ranging and comprehensive anthology of Romantic drama ever published. The introduction by the editors provides an informative overview of the drama and stage practices of the Romantic Period. The anthology also provides copious supplementary materials, including an Appendix of reviews and contemporary essays on the theater, a Glossary of Actors and Actresses, and a guide to further reading. Each of the ten plays has been fully edited and annotated.
| Author | : Julie A. Carlson |
| Publisher | : Cambridge University Press |
| Total Pages | : 284 |
| Release | : 2007-08-16 |
| Genre | : Literary Criticism |
| ISBN | : 9780521039635 |
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.
| Author | : Richard Allen Cave |
| Publisher | : Colin Smythe |
| Total Pages | : 142 |
| Release | : 1986 |
| Genre | : Performing Arts |
| ISBN | : |
This symposium was first delivered as a series of lectures in Rome arranged under the auspices of the Keats-Shelley Memorial Association and the British Council. The aim was very much to interpret the drama created by the English Romantic poets from the perspective of the modern theatrical tradition. The four essays included here investigate the relationship between the Romantics and the theatre of their own time, assess the considerable body of dramatic works composed by Byron and Shelley, and explore the history of plays by Wordsworth, Coleridge, Shelley and Byron in performance on the British stage. All argue that, though the Romantic poets were out of sympathy with the theatre of their day, they wrote forms of drama that to a considerable degree anticipate the theatre of the present century.
| Author | : Lilla Maria Crisafulli |
| Publisher | : Peter Lang |
| Total Pages | : 362 |
| Release | : 2008 |
| Genre | : Drama |
| ISBN | : 9783039110971 |
This volume presents a selection of essays by established Italian and international scholars in the field of Romantic drama. It is divided into four main sections: 1) Dramatic Theory and Practice; 2) On the Romantic Stage: History, Arts, and Acting; 3) Interaction of Genres: from Fiction to Drama; 4) The Romantics' Debate on Theatre and Drama: a Selected Anthology. The crucial area of debate these essays address is the way in which the problem of the dramatic representation of the self becomes in Romantic drama the very centre of reflection on the constitution of the modern subject. Each essay explores one or more aspects of the formation of modern subjectivity through dramatic representation of the self and through critical enquiry into the modes of that representation. The first and the fourth sections discuss the complex interaction between the theoretical questions that animated the debate around the Romantic theatre and the multifarious and often unruly performance practices of the time. The other two sections deal with the many and diverse ways in which Romantic drama engaged with and incorporated other artistic genres such as painting, performing arts, music, and the novel.
| Author | : John Palgrave Simpson |
| Publisher | : |
| Total Pages | : 58 |
| Release | : 1875 |
| Genre | : |
| ISBN | : |
| Author | : Susan McCready |
| Publisher | : Durham Modern Languages |
| Total Pages | : 158 |
| Release | : 2007 |
| Genre | : French drama |
| ISBN | : 9780907310594 |
This volume analyzes major French plays of the 1830s, focusing on their theatricality, and on the ways in which they expose the workings of the theater rather than conceal them. Through an examination of performance within these plays, the study posits that the stage is a privileged site of demonstration, a literal "proving ground" that lends a physical reality to abstract values announced in the text and shared or questioned by the audience. Negotiating between the literary study of drama and performance theory, this work breaks new ground in nineteenth-century theater scholarship while proposing a fresh direction in the study of text and performance. The Limits of Performance challenges conventional wisdom, offering a novel take on the mal du siècle, that thematic hardy perennial of French Romanticism and the nineteenth century in general, combined with eminently readable and, therefore, compelling analysis of plays - a thought-provoking addition to work in the field (Glyn Hambrook, Modern and Contemporary France, November 2008).
