A Bibliographr of the LIFE - AND:DRAMATIC AET OFDIGH BGUGICAULT5
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“America” on Nineteenth-Century Stages; Or, Jonathan in England and Jonathan at Home
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by D-Scholarship@Pitt PLAYING “AMERICA” ON NINETEENTH-CENTURY STAGES; OR, JONATHAN IN ENGLAND AND JONATHAN AT HOME by Maura L. Jortner BA, Franciscan University, 1993 MA, Xavier University, 1998 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2005 UNIVERSITY OF PITTSBURGH ARTS AND SCIENCES This dissertation was presented by It was defended on December 6, 2005 and approved by Heather Nathans, Ph.D., University of Maryland Kathleen George, Ph.D., Theatre Arts Attilio Favorini, Ph.D., Theatre Arts Dissertation Advisor: Bruce McConachie, Ph.D., Theatre Arts ii Copyright © by Maura L. Jortner 2005 iii PLAYING “AMERICA” ON NINETEENTH-CENTURY STAGES; OR, JONATHAN IN ENGLAND AND JONATHAN AT HOME Maura L. Jortner, PhD University of Pittsburgh, 2005 This dissertation, prepared towards the completion of a Ph.D. in Theatre and Performance Studies at the University of Pittsburgh, examines “Yankee Theatre” in America and London through a post-colonial lens from 1787 to 1855. Actors under consideration include: Charles Mathews, James Hackett, George Hill, Danforth Marble and Joshua Silsbee. These actors were selected due to their status as iconic performers in “Yankee Theatre.” The Post-Revolutionary period in America was filled with questions of national identity. Much of American culture came directly from England. American citizens read English books, studied English texts in school, and watched English theatre. They were inundated with English culture and unsure of what their own civilization might look like. -
The Shaughraun by Dion Boucicault
University of South Florida Scholar Commons The Arts Publications Special & Digital Collection - The Arts 2005 The hS aughraun by Dion Boucicault Nancy Cole Follow this and additional works at: http://scholarcommons.usf.edu/artstud_pub Scholar Commons Citation Cole, Nancy, "The hS aughraun by Dion Boucicault" (2005). The Arts Publications. Paper 6. http://scholarcommons.usf.edu/artstud_pub/6 This Article is brought to you for free and open access by the Special & Digital Collection - The Arts at Scholar Commons. It has been accepted for inclusion in The Arts Publications by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. 1 The Shaughraun by Dion Boucicault Article by Nancy Cole To begin. The title, The Shaughraun, has been a puzzle since the play opened at Wallack’s Theatre in New York November 14, 1874. The author and man-of-the- theatre Dion Boucicault was at midcareer and perhaps past that when he appeared as Conn, the Shaughraun, in a play very much of his own devising. Experienced theatre practitioners including Lester Wallack advised him to change the title. But Boucicault, born Irish in Dublin, persisted. The term shaughraun means wanderer in Gaelic: he who lives as he will. Synopsis of The Shaughraun The scene is the wild coast of County Sligo in the west of Ireland and three of the characters, not including Conn, are suffering declined fortunes-- Claire and Robert Ffolliott and Miss Arte O’Neal, a local belle. She is engaged to Robert, a key point in the play, and she is a descendant of the ancient O’Neal clan--the old blood. -
Irish Playwrights and the Dunedin Stage in 1862: Theatre Patrons Performing Civility
Irish Playwrights and the Dunedin Stage in 1862: Theatre Patrons Performing Civility PETER KUCH Irish Plays on the Dunedin Stage in 1862 A first-rate actor of Irish characters is indispensible on a London Stage. Cumberland’s British Theatre, 1828. Between 1862 and 1869 there were some 300 performances of Irish plays in Dunedin‘s theatres. Kuch, Irish Society for Theatre Research, 2010. A mere 14 years after it was founded by Presbyterians as a distinctly Scottish city that was ―in the world but not of the world,‖ Dunedin possessed two splendid theatres that during their first decade of operation staged some 300 performances of Irish plays and plays by Irish playwrights. How did this happen? Why Irish plays? Why Irish playwrights? And why were two theatres, with capacities of 1500 and 1330 persons, opened in Dunedin a year before Otago Boys High School was founded, five years before the foundations of First Church were laid, and seven years before the Provincial Council turned its attentions to establishing a University?1 Initially, it was the theatres that were a source of civic pride. According to an 1862 issue of the Otago Witness, Dunedin possessed ―two of the handsomest theatres in the Australian colonies.‖ 2 While there are doubtless many explanations for this rush to build theatres, the short answer is that the city was overtaken by the very world it had sought to isolate itself from. But this is an answer that invites explanation. First, it has to do with what was on offer on stage. It has been well established by theatre historians that Irish playwrights (particularly Dion Boucicault) and Irish plays (particularly comedy and melodrama) dominated the nineteenth-century stage—whether in Dublin or London or New York.3 It is also well known that, by the time the Theatre Royal and The Princess Theatre were opened in Dunedin, the ―legitimate drama‖4 had become widely if not firmly established as the secular vehicle for social and cultural improvement. -
Replaying and Rediscovering the Octoroon
Article Replaying and Rediscovering The Octoroon Merrill, Lisa and Saxon, Theresa Available at http://clok.uclan.ac.uk/17558/ Merrill, Lisa and Saxon, Theresa ORCID: 0000-0002-2129-2570 (2017) Replaying and Rediscovering The Octoroon. Theatre Journal, 69 (2). ISSN 0192-2882 It is advisable to refer to the publisher’s version if you intend to cite from the work. http://dx.doi.org/10.1353/tj.2017.0021 For more information about UCLan’s research in this area go to http://www.uclan.ac.uk/researchgroups/ and search for <name of research Group>. For information about Research generally at UCLan please go to http://www.uclan.ac.uk/research/ All outputs in CLoK are protected by Intellectual Property Rights law, including Copyright law. Copyright, IPR and Moral Rights for the works on this site are retained by the individual authors and/or other copyright owners. Terms and conditions for use of this material are defined in the policies page. CLoK Central Lancashire online Knowledge www.clok.uclan.ac.uk 1 Replaying and Rediscovering The Octoroon Lisa Merrill and Theresa Saxon "[W]hen one is considering the crimes of slavery, the popular theater is as central as the courthouse."1 Saidiya Hartman For over one hundred and fifty years, productions and adaptations of Irish playwright Dion Boucicault's explosive 1859 melodrama, The Octoroon, have reflected differing and sometimes contentious meanings and messages about race and enslavement in a range of geographic locations and historical moments. In this melodrama, set on a plantation in Louisiana, audiences witness the drama of Zoe Peyton, a mixed-race white-appearing heroine who learns after the sudden death of her owner/father, that she is relegated to the condition of "chattel property" belonging to the estate, since she was born of a mother who had herself been enslaved.2 Rather than submit to a new master, having been sold at auction, Zoe poisons herself and dies, graphically, on stage. -
Brotherton Library Nineteenth-Century Playbills Handlist of Playbills of the Nineteenth Century Given to the Library by Mrs Blan
Brotherton Library Nineteenth-Century Playbills Handlist of playbills of the nineteenth century given to the Library by Mrs Blanche Legat Leigh (died 194 5) and Professor P.H. Sawyer. The collection is shelved in Special Collections: Theatre: Playbills Contents Pages 1-7: 1-65: Given by Mrs Leigh Pages 8-9: 66-75: Given by Professor Sawyer Pages 10-2 9: Index of Authors, Titles and actors 1 -65: Playbills given by Mrs Leigh 1. 7th Feb. 1806. Theatre Royal, Drury Lane. The Travellers; or, Music's Fascination, by Andrew Cherry (17 62 -1812). Three Weeks after Marriage, by Arthur Murphy (1727-1805), 2. 14th Feb. 1807. Theatre Royal, Drury Lane. The Jealous Wife, by George Colman the elder (1732-94); Tekeli; or, The Siege of Montgatz, by Theodore Edward Hook (17 88-1841). 3. 10th Nov. 1808. Theatre Royal, Drury Lane. The Siege of St. Quintin; or, Spanish Heroism, by T . E. Hook; : The Spoil'd Child, by Isaac Bickerstaffe (173 5-1812), 4. 24th July, 1810. Lyceum Theatre, English Opera. The Duenna, by Richard Brinsley Sheridan (1751- 1816); Twenty Years Ago! by Isaac Pocock (17 82 -183 5). 5. 1st April, 1811. King's Theatre, Haymarket. The Earl of Warwick. .6. 10th Oct. 1812. Theatre Royal, Drury Lane. Hamlet, Prince, of Denmark, by William Shakespeare (1564 -1616); The Devil to Pay; or, The Wives Metamorphosed, by Charles Coffey (d.1745) and John Mottley (1692-1750). 7. 25th May, 1813. Theatre Royal, Covent Garden. The Gameste; by Mrs Susannah Centlivre (1667-1723); The Devil to Pay, by C. Coffey and J. -
A History of the French in London Liberty, Equality, Opportunity
A history of the French in London liberty, equality, opportunity Edited by Debra Kelly and Martyn Cornick A history of the French in London liberty, equality, opportunity A history of the French in London liberty, equality, opportunity Edited by Debra Kelly and Martyn Cornick LONDON INSTITUTE OF HISTORICAL RESEARCH Published by UNIVERSITY OF LONDON SCHOOL OF ADVANCED STUDY INSTITUTE OF HISTORICAL RESEARCH Senate House, Malet Street, London WC1E 7HU First published in print in 2013. This book is published under a Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International (CC BY- NCND 4.0) license. More information regarding CC licenses is available at https://creativecommons.org/licenses/ Available to download free at http://www.humanities-digital-library.org ISBN 978 1 909646 48 3 (PDF edition) ISBN 978 1 905165 86 5 (hardback edition) Contents List of contributors vii List of figures xv List of tables xxi List of maps xxiii Acknowledgements xxv Introduction The French in London: a study in time and space 1 Martyn Cornick 1. A special case? London’s French Protestants 13 Elizabeth Randall 2. Montagu House, Bloomsbury: a French household in London, 1673–1733 43 Paul Boucher and Tessa Murdoch 3. The novelty of the French émigrés in London in the 1790s 69 Kirsty Carpenter Note on French Catholics in London after 1789 91 4. Courts in exile: Bourbons, Bonapartes and Orléans in London, from George III to Edward VII 99 Philip Mansel 5. The French in London during the 1830s: multidimensional occupancy 129 Máire Cross 6. Introductory exposition: French republicans and communists in exile to 1848 155 Fabrice Bensimon 7. -
The Invention of Common Law Play Righa26
Forthcoming in Berkeley Technology Law Journal The Invention of Common Law Play Right -- Jessica Litman∗ A dramatic composition is capable of two distinct public uses. It may be printed as a book and represented as a drama. … The exclusive right of multiplying copies is called copyright. But this does not embrace the right of representation. … The sole liberty of publicly performing a dramatic composition might more properly be called dramatic right or acting right. … I have adopted playright as being, in my judgment, the best name for the purpose. It is a convenient euphonious word, and its formation is analogous to that of copyright. As the latter word literally means the right to copy a work, or the right to the copy, so playright means the right to play a drama, or the right to the play. --Eaton Sylvester Drone1 American copyright law nominally vests exclusive rights in “authors.” “Authors” in America, as often as not, are the employers of the individuals who actually create copyrightable works.2 Even when the law vests copyright in creators, the architecture of the system encourages them to assign their copyrights to intermediaries, who are motivated by potential profits to disseminate the works to ∗ John F. Nickoll Professor of Law, University of Michigan. I’m grateful to Pam Samuelson for thinking up this conference and inviting me to do this research, and to Jon Weinberg, Jody Kraus, Jane Ginsburg, and Becky Eisenberg for their helpful comments on earlier drafts. 1 EATON S. DRONE, TREATISE ON THE LAW OF PROPERTY IN INTELLECTUAL PRODUCTIONS IN GREAT BRITAIN AND THE UNITED STATES EMBRACING COPYRIGHT IN WORKS OF LITERATURE AND ART, AND PLAYRIGHT IN DRAMATIC AND MUSICAL COMPOSITIONS 553 (1879). -
BOUCICAULT (Boursiquot)
Irish Huguenot family of BOURSIQUOT, BOURCICAULT and BOUCICAULT of Dublin, London, New York, Melbourne, Sydney & Rockhampton (Queensland)... (including the family of DION BOUCICAULT, playwright, theatre manager and actor) Blennerhassett Family Tree (BH45_Boucicault_BOU.xlsx) revised June 2012, copyright © Bill Jehan 1968-2012 I initially looked at this family to clarify their connection with Blennerhasset-Coulson (BOU 03; p.BC 02) and found them so interesting I could not resist looking further - BJ Thanks to all who have contributed to these pages - please send additions & corrections to email: [email protected] Earlier generations of this family were initially derived from a hand-written single-page Boucicault pedigree, among Boucicault family documents collected by Christopher Calthrop (BOU 05) and in 2004 donated be his neice Anne Roberts (BOU 05) to the Templeman Library, University of Kent, Canterbury [UoK Special Collections Ref. UKC/CALB/BIO/F20551500] BOU 01 >|>>>>>>>>>>|>>> Samuel Boursiquot >>>>>>>>>>>|>>> Mary Boursiquot; b.31.10.1768 Dublin; bapt.28.11.1768 Eustace Street Presbyterian Church, Dublin | [IGI] has b.est.c1745 Dublin | | perhaps(?) bur.9.11.1804 |>>>Mercy Boursiquot; b.21.4.1770 Dublin; bapt.20.5.1770 Eustace Street, Presbyterian Church, Dublin | St Catherine (C.o.I.) Dublin | | / |>>>Sarah Boursiquot; b.9.11.1771 Dublin; bapt.1.12.1771 Eustace Street, Presbyterian Church, Dublin; d.1803 | m.1767 (marriage licence) | | Mercy Anne Smith |>>>Samuel Smith Boursiquot >>>>>|>>> Mary Smith Bourcicault -
© in This Web Service Cambridge University Press
Cambridge University Press 978-1-107-00793-2 - Dion Boucicault: Irish Identity on Stage Deirdre Mcfeely Index More information Index Abbey Theatre, 2, 50, 180–2 financial difficulties, 31, 74, 170 Amadan, The, 3 first marriage, 7 Ancient Order of Hibernians, 93 first playwrighting success, 6 Andy Blake, 3 Irish World, 91–100 Arnold, Matthew, 22 London, 5–6, 7, 141 Arrah-na-Pogue, 29–58 marital breakdown, 60, 109 1798 setting, 30, 35, 38, 57 move to USA, 8 command performance, 37–9 nationalism, 3, 4, 74, 137, 139, 169, 172 Dublin, 29, 30–7, 42, 53 New York, 8–9, 15, 70 international success of, 47 Paris, 7, 22 licensing, 31, 45 retirement, 50, 59 London, 30, 43–7 self-promotion, 15, 31, 111, 121, 128, 132, 155, London revivals, 48–50 174 London rewrite, 39–40 statuette, 2, 101, 180 New York, 53–5, 70 technical innovations, 7 plot of, 35–6 testimonial, 77, 91, 100, 106, 132 purported banning of, 50 Boursiquot, Anne Darley and Samuel Smith, 5 sensation scene, 39 Boycott, Charles, 153–4, 162 ‘The Wearing of the Green’. See separate entry Bridal Tour, A, 142 Brinsley Sheridan, Richard, 5 Beale, Simon Russell, 182 Brooks, Peter, 135, 175 Beecher Stowe, Harriet, 10 Brown, John, 10, 55 Benedict, Julius, 179 Brown, Terence, 180 Bianconi, Charles, 1, 180 Butt, Isaac, 50, 84, 194 Biggar, Joseph, 162 Byrne, Oscar, 34 Boltwood, Scott, 16, 17, 20, 22 Boucicault, Dion Cairns, David, 22, 125 actor, 6, 8, 59, 73, 75, 101, 109, 110, 140, 141, Carlisle, Earl of, 24, 29 170 Carlson, Marvin, 63 becomesUScitizen,83 Cave, Richard, 64, 105, 111, 122 ‘Boucicault Fund’, -
6 X 10 Long.P65
Cambridge University Press 978-0-521-88967-4 - Romantic Drama: Acting and Reacting Frederick Burwick Excerpt More information Introduction The poet, John Keats insisted in his letter to Richard Woodhouse (October 27, 1818), has no self, no character, no identity, but is ever ready to assume identity and enter into a role: As to the poetical Character . it has no self – it is everything and nothing – It has no character – it enjoys light and shade; it lives in gusto, be it foul or fair, high or low, mean or elevated. It has as much delight in conceiving an Iago as an Imogen. What shocks the virtuous philosopher, delights the camelion Poet. It does no harm from its relish of the dark side of things any more than its taste for the bright one; because they both end in speculation. A Poet is the most unpoetical of anything in existence because he has no Identity; he is continually 1 in for and filling some other Body. To describe how the poetic imagination moves from nonentity to iden- tity, Keats introduces contrasting Shakespearean characters: the innocent Imogen, the evil Iago. Whatever their moral difference, both have equal affective value because “both end in speculation.” The poet is always ready for such role-playing, “continually in for and filling some other Body.” Keats’s theatrical metaphor for entering into character might seem to apply broadly to the assumptions about acting in the period. The successful performer, a Sarah Siddons or a John Philip Kemble, is pre- sumably one who can enter convincingly into role and become that character for the duration of the play. -
The Career of Dion Boucicault
The C are e r o f Dio n Bouc ic ault To wnse nd W al s h N EW YO RK THE D UNLAP SO CI ETY M C M XV o 1 1 b C pyright, 9 5 , y T H E D UN LAP S O C I ETY fl 00 g i b O i ) , This is on e of an edition of three hundre d c opies prin te d from typ e for Th e D unlap Soc iety in th e mo of Se ember 1 1 nth pt , 9 5 , by The D e Vinne Press Qtflfl tmtfi E CHAPT R I . m a — Origin o f th e B our s iquots or B ourc icaults Th c — ’ family in Dublin Mys te ry o f Di on s parentage — — Was h e born in 1820 or 1822 ? S trong e vi — d ence to prov e that h e was a l ove - child H i s — — e u e e Th e D e m D r D ion r p t d fath r arl y fa ily . y s ins Lardne r CHAPTE R II . — S ch ool - days P ranks with Charl es Lamb Ken —“ ’ ” ney Nap ol eon s Old Guard acte d at Brent — — ford by hi s s ch ool fe ll ow s Extraordinary p r e — ’ c ocity B ec omes an a cto r in 1839 - Barton Hill s r emini s cenc e s o f B ouc i cault at th e Ch eltenham — and Gl ouces ter Th eatre s Rol e s enact e d at Hull — “ ‘ ” — An adaptati on o f Jack S h eppard ~ Plays “ J ack hims e lf und e r th e n om d e théé tr e o f Lee ” More ton E CHAPT R III . -
The Nineteenth-Century Home Theatre: Women and Material Space
The Nineteenth-Century Home Theatre: Women and Material Space Ann Margaret Mazur Pittsburgh, Pennsylvania B.S. Mathematics and English, University of Notre Dame, 2007 M.A. English and American literature, University of Notre Dame, 2009 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of English University of Virginia May, 2014 © 2014 Ann M. Mazur Table of Contents Acknowledgments…………...…………………………………………………………..…..……i Dedication…………...……………………………………………………………………………ii Chapter 1 Introduction: The Home Theatre in Context……………………………………...………………1 Chapter 2 A Parlour Education: Reworking Gender and Domestic Space in Ladies’ and Children’s Theatricals...........................63 Chapter 3 Beyond the Home (Drama): Imperialism, Painting, and Adaptation in the Home Theatrical………………………………..126 Chapter 4 Props in Victorian Parlour Plays: the Periperformative, Private Objects, and Restructuring Material Space……………………..206 Chapter 5 Victorian Women, the Home Theatre, and the Cultural Potency of A Doll’s House……….….279 Works Cited………………………………………………………………………………....…325 Acknowledgements I am deeply grateful to the American Association of University Women for my 2013-2014 American Dissertation Fellowship, which provided valuable time as well as the financial means to complete The Nineteenth-Century Home Theatre: Women and Material Space over the past year. I wish to thank my dissertation director Alison Booth, whose support and advice has been tremendous throughout my entire writing process, and who has served as a wonderful mentor during my time as a Ph.D. student at the University of Virginia. My dissertation truly began during an Independent Study on women in the Victorian theatre with Alison during Spring 2011. Karen Chase and John O’Brien, the two supporting members of what I have often called my dream dissertation committee, offered timely encouragement, refreshing insight on chapter drafts, and supported my vision for this genre recovery project.