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Theorizing Audience and Spectatorial Agency
Swarthmore College Works English Literature Faculty Works English Literature 2014 Theorizing Audience and Spectatorial Agency Betsy Bolton Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-english-lit Part of the English Language and Literature Commons Let us know how access to these works benefits ouy Recommended Citation Betsy Bolton. (2014). "Theorizing Audience and Spectatorial Agency". Oxford Handbook Of The Georgian Theatre, 1737-1832. 31-52. DOI: 10.1093/oxfordhb/9780199600304.013.012 https://works.swarthmore.edu/fac-english-lit/188 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in English Literature Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. CHAPTER 2 THEORIZING AUDIENCE AND SPECTATORIAL AGENCY BETSY BOLTON Audiences are a problem, and Georgian theatre audiences are more of a problem than many.' Records may yet yield more than we know, but there remain many questions about Georgian audiences that we may never be able to answer. We don’t know how a statistically significant sample of individual spectators responded to topical allusions or scandalous references. We don’t know how permeable in practice were the social boundaries attributed to pit, box, and gallery. We still don’t even know what constituted a ‘good’ house or what defined a ‘brilliant’ audience—though Judith Milhous notes that some of this evidence lurks in the highly -
Illegitimate Celebrity in the British Long Eighteenth Century Melissa Wehler
Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Spring 2013 Illegitimate Celebrity in the British Long Eighteenth Century Melissa Wehler Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Wehler, M. (2013). Illegitimate Celebrity in the British Long Eighteenth Century (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/1347 This Immediate Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. ILLEGITIMATE CELEBRITY IN THE BRITISH LONG EIGHTEENTH CENTURY A Dissertation Submitted to the McAnulty College and Graduate School of Liberal Arts Duquesne University In partial fulfillment of the requirements for the degree of Doctor of Philosophy By Melissa Wehler May 2013 Copyright by Melissa A. Wehler 2013 ILLEGITIMATE CELEBRITY IN THE BRITISH LONG EIGHTEENTH CENTURY By Melissa Wehler Approved March 22, 2013 _____________________________ _____________________________ Laura Engel, Ph.D. Anne Brannen, Ph.D. Associate Professor of English Associate Professor of English (Dissertation Director) (Committee Member) _____________________________ _____________________________ Susan K. Howard, Ph.D. Magali Cornier Michael, Ph.D. Associate Professor of English Professor of English (Committee Member) (Chair, Department of English) _____________________________ James Swindal, Ph.D. Dean, McAnulty College and Graduate School of Liberal Arts Professor of Philosophy iii ABSTRACT ILLEGITIMATE CELEBRITY IN THE BRITISH LONG EIGHTEENTH CENTURY By Melissa Wehler May 2013 Dissertation Supervised by Professor Laura Engel In the discussions about contemporary celebrities, the femme fatale, the bad boy, the child star, and the wannabe have become accepted and even celebrated figures. -
GARRICKS JUBILEE.Pdf
fr na A comprehensive — and occasionally hilarious—study of the three-day fes tival staged by David Garrick, the brilliant actor and manager of the Drury Lane Theatre in London, at Stratford-upon-Avon, in September, 1769. This was the first Shakespeare fes tival to engage national interest, and although its critics vilified it as a fiasco and a monumental example of bad taste, its defenders thought it a glorious occasion. James Boswell, a member of the latter group, de scribed it as being ((not a piece of farce . , but an elegant and truly classical celebration of the memory of Shakespeare." Reproduced on the stage in vary ing moods of glorification and satire, the Jubilee ultimately became en tangled in the very threads of Eng lish life. The combination of Garrick and Stratford produced a catalyst (Continued on back flap) Garrick's Jubilee Garrick's Jubilee By Martha Winburn England Ohio State University Press Copyright © 1964 by the Ohio State University Press All Rights Reserved Library of Congress Catalogue Card Number: 64-17109 Chapters II and V and portions of Chapters I and III are reprinted from the author's Garrick and Stratford, © 1962, 1964 by The New York Public Library. They are used here by permission of the publisher. A portion of Chapter VI first appeared in Bulletin of the New York Public Library, LXIII, No. 3 (March, 1959) ; and a portion of Chapter VIll in Shakespeare Survey, No. 9 (1956). They are reprinted here by permission of the publishers. To Harry Levin Preface THE LIBRARIES of Harvard University, Yale University, and Queens College, the Folger Shakespeare Library, the New York Public Library, and the archives of the Shakespeare Birthplace Trust have made my work possible. -
The Theatre of Shelley
Jacqueline Mulhallen The Theatre of Shelley OpenBook Publishers To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/27 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Jacqueline Mulhallen has studied and worked as an actor and writer in both England and Australia and won a scholarship to study drama in Finland. She worked as performer and writer with Lynx Theatre and Poetry and her plays Sylvia and Rebels and Friends toured England and Ireland (1987-1997). Publications include ‘Focus on Finland’, Theatre Australia, 1979; (with David Wright) ‘Samuel Johnson: Amateur Physician’, Journal of the Royal Society of Medicine, 1982; ‘Sylvia Pankhurst’s Northern Tour’, www.sylviapankhurst. com, 2008; ‘Sylvia Pankhurst’s Paintings: A Missing Link’, Women’s History Magazine, 2009 and she is a contributor to the Oxford Handbook of the Georgian Playhouse 1737-1832 (forthcoming). Jacqueline Mulhallen The Theatre of Shelley Cambridge 2010 Open Book Publishers CIC Ltd., 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com © 2010 Jacqueline Mulhallen. Some rights are reserved. This book is made available under the Creative Commons Attribution-Non-Commercial-No Derivative Works 2.0 UK: England & Wales License. This license allows for copying any part of the work for personal and non-commercial use, providing author attribution is clearly stated. Details of allowances and restrictions are available at: http://www.openbookpublishers.com As with all Open Book Publishers titles, digital material and resources associated with this volume are available from our website: http://www.openbookpublishers.com ISBN Hardback: 978-1-906924-31-7 ISBN Paperback: 978-1-906924-30-0 ISBN Digital (pdf): 978-1-906924-32-4 Acknowledgment is made to the The Jessica E. -
Old Drury Lane
:CNJ ! VMBBJ ICD ' : '- - --" ; . , ",.' 1 \. ffi . I | m 1 1 ! |g ' 1 -' - . '. _ : I ' - - - ' ' : '_ i p I /,'.'/v;^' v | j ' ' - , '-', , nHI pn ; H ^ B 1 ' .'"' ''-'"' : K ' ' a mm i OLD DRURY LANE. A OLD DRURY LANE FIFTY YESES' RECOLLECTIONS OF AUTHOR, ACTOR, AND MANAGER BY EDWARD STIRLING IN TWO VOLUMES VOL. II. lontton CHATTO AND WINDUS, PICCADILLY 1881 [All Rights Reserved] CONTENTS OF VOL. II. BOOK III. PAGE ACTORS AND ACTRESSES WHO HAVE APPEARED AT DRURY LANE THEATRE FROM ITS EARLIEST ANNALS TO THE PRESENT TIME, SKETCHES OF THEIR CAREER, AND ANEC- DOTES CONNECTED WITH THEM ... I BOOK IV. DRAMATIC ANA AND THEATRICAL VARIETIES, WITH AN ACCOUNT OF CURIOUS OLD PLAYS, ETC. 267 OLD DRURY LANE. BOOK III. ACTORS AND ACTRESSES WHO HAVE APPEARED AT DRURY LANE THEATRE FROM ITS EARLIEST ANNALS TO THE PRESENT TIME, SKETCHES OF THEIR CAREER, AND ANECDOTES CONNECTED WITH THEM. ' Players are the abstracts and brief chronicles of the Time : after your death, you were better have a bad epitaph than their ill report.' VOL. II. EDWARD KYNASTON, 16191687. IN the Restoration days (Charles II.), it was a frequent custom of the ladies of quality to carry Kynaston, the actor of Drury Lane and Lincoln's Inn Fields, in his female dress, after the performances, in their coaches to Hyde Park. JOHN LACEY, 16221681. JOHN LACEY, a Yorkshireman and King's servant at Drury Lane, greatly relished by Charles II., who frequently commanded his performances. CLUN (DIED 1664). TRAGIC NEWS, 1664. 'Clun, one of the best tragic actors at the King's House, 242 Old Drury Lane. -
The Lost Theatres of Winchester, 1620-1861
THE LOST THEATRES OF WINCHESTER, 1620-1861 By PAUL RANGER CONTENTS 1. The Market House Theatre. 9. The Temporary Theatre. 3. The New Theatre. 4. The Actors and their Parts. 5. Visitors to Winchester. 6. Practical Matters in the Theatre. Epilogue. Appendix: Sources. 1. THE MARKET HOUSE THEATRE Prologue and a fourth the angel, represented the visit ONE rarely thinks of Winchester in these to the sepulchre and the announcement by days as a hub of theatrical entertainment and the angel of the Resurrection. yet, for about a hundred years, in the eight There are stage directions describing the eenth and nineteenth centuries, the city was way in which the women creep to the able to boast of several playhouses at which sepulchre; the angel is suddenly discovered; regular companies of professional actors instructions for special vocal effects are given; appeared. Some of the great names of the an empty grave cloth is used as a symbol of theatre have been written on bills in the city - Christ Risen; costumes are carefully described Edmund Kean, his son Charles, T. P. Cooke and finally the audience joyfully participates the nautical actor, Charles Kemble, Tate Wil by singing with the actors the 'Te Deum'.1 kinson, and the composer of the march of the Royal Marines, Henry Russell. Little remains Gradually drama was ousted from Church of the structure of the theatres. A beam of buildings. The west front sometimes served one is preserved in the City Museum and part as a suitable back drop, and at other times of the facade of another can still be seen wheeled platforms were erected at stations in in Jewry Street once one knows where to look the city such as the Butter Cross or market for it. -
Pregnancy and Performance on the British Stage in the Long Eighteenth Century, 1689-1807
“Carrying All Before Her:” Pregnancy and Performance on the British Stage in the Long Eighteenth Century, 1689-1807 Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Chelsea Phillips, MFA Graduate Program in Theatre The Ohio State University 2015 Dissertation Committee: Dr. Lesley Ferris, Advisor; Dr. Jennifer Schlueter; Dr. Stratos Constantinidis; Dr. David Brewer Copyright by Chelsea Lenn Phillips 2015 ABSTRACT Though bracketed by centuries of greater social restrictions, the long eighteenth century stands as a moment in time when women enjoyed a considerable measure of agency and social acceptance during pregnancy. In part, this social acceptance rose along with birth rates: the average woman living in the eighteenth century gave birth to between four and eight children in her lifetime. As women spent more of their adult lives pregnant, and as childbearing came to be considered less in the light of ritual and more in the light of natural phenomenon, social acceptance of pregnant women and their bodies increased. In this same century, an important shift was occurring in the professional British theatre. The eighteenth century saw a rise in the respectability of acting as a profession generally, and of the celebrity stage actress in particular. Respectability does not mean passivity, however—theatre historian Robert Hume describes the history of commercial theatre in eighteenth century London as a “vivid story of ongoing competition, sometimes fierce, even destructive competition.”1 Theatrical managers deployed their most popular performers and entertainments strategically, altering the company’s repertory to take advantage of popular trends, illness or scandal in their competition, or to capitalize on rivalries. -
The Life and Adventures of Peg Woffington
THE LIFE AND ADVENTURES OF PEG WOFFINGTON " A cup oftea^ Sir" said she Painted by B. Wesley Rand of €nglanb Peg Woffington Volume II. Written by J. Fitzgerald M o 1 1 o y The Grolier Society London EDITION DE LUXE Limited to One Thousand Copies CONTENTS CHAPTER I. Goldsmith in London — Physician, Usher, and Hack Writer — the Monthly Review — In Green Court Arbour — Beginning the World at Thirty-one — Letters to His Friends in Ireland — The Great City by Night — John- son's Garret — Drinking Tea with Mrs. Williams — The Great Mr. Richardson I CHAPTER 11. Charles Macklin and His Tavern — The British Inquisition — Foote's Most Excellent Wit — Macklin's Pupils — Foote as an Actor — The Diversions of the Morning — Drinking a Dish of Chocolate with the Wit — His Mimicry — Young Tate Wilkinson and Peg Woffington — Her Anger and Resentment — The Mimic Mimicked — Wilkinson, Foote, and Garrick — A Night at Drury Lane — The Mirror at Covent Garden — Rich, Foote, Garrick, and Wilkinson ....... 30 CHAPTER III. Spranger Barry — His Debut in Dublin — Arrival in Lon- don — His Personal Beauty and Sweetness of Voice — Plays at Drury Lane — His Personation of Othello — Dissatisfied with Garrick — Goes to Covent Garden — The Rival Romeos — The Rival Juliets — Excitement of viii CONTENTS PAGB the Town — Tragedies Produced by Garrick — Monsieur Jean Noverre — The Chinese Festival — George II. at the Playhouse — His Impressions of Richard III. — Riot at Drury Lane 74 CHAPTER IV. Peg Woffington's Last Years at Covent Garden — Her Famous Characters — The Comedy of " The Careless Husband " — Introduction of a Scene from Real Life — Its Sparkling Dialogue — Its Plot and Characters — Peg Woffington as Lady Betty Modish — Opinion of an Anonymous Critic — Her Last Night — Cibber, Quin, Barry, Sir Charles Hanbury Williams, and Lady Coventry — The Curtain Descends upon Peg Wofi&ngton's Life . -
The Theatre Royal Bristol
THIRD EDITION THE THEATRE ROYAL BRISTOL The First Seventy Years Kathleen Barker, M.A. Printed by F. Bailey & Son Ltd., Dursley, Glos. ISSUED BY THE BRISTOL BRANCH OF THE HISTORICAL ASSOCIATION, THE UNIVERSITY, BRISTOL Price Four __ - 1 9 6 9 The Theatre Royal: The First Seventy Years BRISTOL BRANCH OF THE HISTORICAL ASSOCIATION by Kathleen Barker, M.A. LOCAL HISTORY PAMPHLETS The ambiguous s atus of the Theatre was never better exempli _. � fie_d ,tJhan at the pemod when the Theatre Royal, Br.isitol, came into ex_1stence. From the Eliza:bethan .ruling that all provincial actors mi,ght be classed, and treated, as rogues and vagabonds unless they Hon. General Editor: PATRICK McGRATH could p�ove themselves some Lord's "servants," grew the post R�storat1on custom of obtaining Letters Patent from the King, or Assistant General Editor: PETER HARRIS Licences from the Lord Ohambedain or Master of the Revels. If a Company had this backing, it was dif.ficult for the Mayor ,to refuse a local licence to play. This pamphlet was first published in 1961 as the third of a . A� m<?re �nd more �uch <:ompanies were formed, regular pro series on local history issued by the Bristol Branch of tihe His vmcrnl circmts were bmlt up m the early part of the 18th Century. torical As:sociation. There was a grea:t demand for it and the first I the summer, actors from :tJhe London Theatres took engagements ed1tion was soon out of print. A second edition appeared in 1963 � i with them, or ma�e up Companies of their own. -
Proquest Dissertations
THE FORTUNES OF KING LEAR IN LONDON BETWEEN 1681 AND 1838: â chronological account of its adaptors, actors and editors, and of the links between them. Penelope Hicks University College London Ph.D ProQuest Number: U642864 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U642864 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract This thesis examines three interwoven strands in the dramatic and editorial history of King Lear between 1681 and 1838. One strand is the history of the adaptations which held the London stage during these years; the second is the changing styles of acting over the same period; the third is the work of the editors as they attempted to establish the Shakespearean text. This triple focus enables me to explore the paradoxical dominance of the adaptations at a time which saw both the text being edited for the first time and the rise of bardolatry. The three aspects of the fortunes ofKing Lear are linked in a number of ways, and I trace these connections as the editors, adaptors and actors concentrated on their own separate concerns. -
THE IMPACT of the ACTING of DAVID GARRICK and SIR LATJRENCE OLIVIER: a COMPARATIVE ANALYSIS APPROVED: Major Pr Minor Professor D
THE IMPACT OF THE ACTING OF DAVID GARRICK AND SIR LATJRENCE OLIVIER: A COMPARATIVE ANALYSIS APPROVED: Major Pr Minor Professor • ^ ... (/ l - »V X | | | , Director of Department of Speech and Drama Dean 6f the Graduate School IdE IMPACT OF THE ACTING OF DAVID GARRICK AND SIR LAURENCE OLIVIER: A COMPARATIVE ANALYSIS THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By David R. Maberry, B, A, Dentons Texas August, 1968 TABLE OF CONTENTS Chapter Page I. INTRODUCTION 1 II. THE ACTING OF DAVID GARRICK 12 III. THE ACTING OF SIR LAURENCE OLIVIER 1+1 IV. A COMPARISON OF THE CAREERS OF DAVID GARRICK AND SIR LAURENCE OLIVIER 71 V. SUMMARY AND CONCLUSION . .10U BIBLIOGRAPHY 113 iii CHAPTER I INTRODUCTION Throughout history man has had a desire for theatre. Man has always wanted a place to go for entertainment where he could think and feel privately and yet be part of a group. While in the theatre man could indulge himself in fantasy, which seems fundamental to him. Howard Taubman has written the following aboufi man's desire and need for the theatre: He goes to the theatre to laugh and weep at others, to comfort himself by feeling superior to other men, and, in deeper truth, to laugh at his own follies, weep at his own sorrows, and, if possible to be exalted and inspired by the potentialities of his nature.1 The majority of mankind wants to attend the theatre to be amused by the pretentions of those upon the stage, but a small number of men wish to face the other way and share their pretentions with the audience. -
AM Broadley's Annals of the Haymarket
Annals of the Haymarket Volume II – Selected Letters Selected Letters from A. M. Broadley’s Annals of the Haymarket A selection of letters from the Broadley albums at City of Westminster Archives Centre, with biographical notes Compiled by David Evans and Judith Bottomley, April 2012 i © Westminster City Archives, April 2012 ii Contents Introduction vii Letter from Henry James Byron to Lucy (13 December 1865) 1 Letter from John Braham to Henry Harrison (8 July 1827) 2 Letter from Alfred Guillaume Gabriel, Count of Orsay to Mr Cook (22 April 1843) 3 Letter from Antonio Tamburini to Pierre Francois Laporte (1840) 4 Letter from Jenny Lind-Goldschmidt to Mrs Brecy (13 January 1860) 5 Instruction from King Charles II to the Earl of Southampton (9 November 1660) 6 Letter from Gertrude Elisabeth Mara to Maria Cosway (10 January) 7 Letter from West Dudley Digges to Cunny 8 Letter from John, Second Duke of Montagu to Mr Cockram (5 January 1725) 9 Letter from Sir John Coventry (24 March 1681) 10 Letter from George Morland to John Graham (6 May 1801) 11 Letter from Anna Lodi (10 January 1708) 12 Letter from Nicolini to Vice-Chamberlain Coke (18 May 1710) 13 Agreement between Owen Swiny and Nicolini 14 Agreement between Catherine Tofts and John Vanbrugh (c1750) 15 Agreement between Owen Swiny, John Vanbrugh, William Collier etc. 16 Letter from Catherine Tofts to Vice-Chamberlain Coke (18 December c1707) 17 Agreement between John James Heidegger and Anastasia Robinson(1714) 18 Order for payment to John James Heidegger by Her Majesty’s Treasury (30 August 1731) 19 Letter from John Beard (4 January 1758) 20 Letter from John Beard to Mr Booth (14 October 1776) 22 Letter of complaint regarding Carlo Francesco Badini (c 1786) 23 Letter from Nancy Storace to Thomas John Dibdin (30 October 1816) 24 Letter from John Nash to the 2nd Earl of Caledon (30 November 1826) 26 Letter from Samuel Arnold to Pierre François Laporte (10 March 1828) 27 Letter from Charles Incledon to Robert Elliston 28 Letter from Albert to M.