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FRENCH INFLUENCES on ENGLISH RESTORATION THEATRE a Thesis
FRENCH INFLUENCES ON ENGLISH RESTORATION THEATRE A thesis submitted to the faculty of San Francisco State University In partial fulfillment of A the requirements for the Degree 2oK A A Master of Arts * In Drama by Anne Melissa Potter San Francisco, California Spring 2016 Copyright by Anne Melissa Potter 2016 CERTIFICATION OF APPROVAL I certify that I have read French Influences on English Restoration Theatre by Anne Melissa Potter, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts: Drama at San Francisco State University. Bruce Avery, Ph.D. < —•— Professor of Drama "'"-J FRENCH INFLUENCES ON RESTORATION THEATRE Anne Melissa Potter San Francisco, California 2016 This project will examine a small group of Restoration plays based on French sources. It will examine how and why the English plays differ from their French sources. This project will pay special attention to the role that women played in the development of the Restoration theatre both as playwrights and actresses. It will also examine to what extent French influences were instrumental in how women develop English drama. I certify that the abstract rrect representation of the content of this thesis PREFACE In this thesis all of the translations are my own and are located in the footnote preceding the reference. I have cited plays in the way that is most helpful as regards each play. In plays for which I have act, scene and line numbers I have cited them, using that information. For example: I.ii.241-244. -
I the POLITICS of DESIRE: ENGLISH WOMEN PLAYWRIGHTS
THE POLITICS OF DESIRE: ENGLISH WOMEN PLAYWRIGHTS, PARTISANSHIP, AND THE STAGING OF FEMALE SEXUALITY, 1660-1737 by Loring Pfeiffer B. A., Swarthmore College, 2002 M. A., University of Pittsburgh, 2010 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2015 i UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Loring Pfeiffer It was defended on May 1, 2015 and approved by Kristina Straub, Professor, English, Carnegie Mellon University John Twyning, Professor, English, and Associate Dean for Undergraduate Studies, Courtney Weikle-Mills, Associate Professor, English Dissertation Advisor: Jennifer Waldron, Associate Professor, English ii Copyright © by Loring Pfeiffer 2015 iii THE POLITICS OF DESIRE: ENGLISH WOMEN PLAYWRIGHTS, PARTISANSHIP, AND THE STAGING OF FEMALE SEXUALITY, 1660-1737 Loring Pfeiffer, PhD University of Pittsburgh, 2015 The Politics of Desire argues that late seventeenth- and early eighteenth-century women playwrights make key interventions into period politics through comedic representations of sexualized female characters. During the Restoration and the early eighteenth century in England, partisan goings-on were repeatedly refracted through the prism of female sexuality. Charles II asserted his right to the throne by hanging portraits of his courtesans at Whitehall, while Whigs avoided blame for the volatility of the early eighteenth-century stock market by foisting fault for financial instability onto female gamblers. The discourses of sexuality and politics were imbricated in the texts of this period; however, scholars have not fully appreciated how female dramatists’ treatment of desiring female characters reflects their partisan investments. -
Jane Milling
ORE Open Research Exeter TITLE ‘“For Without Vanity I’m Better Known”: Restoration Actors and Metatheatre on the London Stage.’ AUTHORS Milling, Jane JOURNAL Theatre Survey DEPOSITED IN ORE 18 March 2013 This version available at http://hdl.handle.net/10036/4491 COPYRIGHT AND REUSE Open Research Exeter makes this work available in accordance with publisher policies. A NOTE ON VERSIONS The version presented here may differ from the published version. If citing, you are advised to consult the published version for pagination, volume/issue and date of publication Theatre Survey 52:1 (May 2011) # American Society for Theatre Research 2011 doi:10.1017/S0040557411000068 Jane Milling “FOR WITHOUT VANITY,I’M BETTER KNOWN”: RESTORATION ACTORS AND METATHEATRE ON THE LONDON STAGE Prologue, To the Duke of Lerma, Spoken by Mrs. Ellen[Nell], and Mrs. Nepp. NEPP: How, Mrs. Ellen, not dress’d yet, and all the Play ready to begin? EL[LEN]: Not so near ready to begin as you think for. NEPP: Why, what’s the matter? ELLEN: The Poet, and the Company are wrangling within. NEPP: About what? ELLEN: A prologue. NEPP: Why, Is’t an ill one? NELL[ELLEN]: Two to one, but it had been so if he had writ any; but the Conscious Poet with much modesty, and very Civilly and Sillily—has writ none.... NEPP: What shall we do then? ’Slife let’s be bold, And speak a Prologue— NELL[ELLEN]: —No, no let us Scold.1 When Samuel Pepys heard Nell Gwyn2 and Elizabeth Knipp3 deliver the prologue to Robert Howard’s The Duke of Lerma, he recorded the experience in his diary: “Knepp and Nell spoke the prologue most excellently, especially Knepp, who spoke beyond any creature I ever heard.”4 By 20 February 1668, when Pepys noted his thoughts, he had known Knipp personally for two years, much to the chagrin of his wife. -
Diplomarbeit
DIPLOMARBEIT Titel der Diplomarbeit “Intriguing Heroines and Scheming Servants. Unconventional Female and Lower-Class Characters in Selected Plays by Susanna Centlivre and Mary Davys” Verfasserin Christine Grossberger angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, 2008 Studienkennzahl lt. Studienblatt: A 344 353 Studienrichtung lt. Studienblatt: LA Anglistik und Amerikanistik Betreuerin / Betreuer: Univ.-Prof. Dr. Margarete Rubik CORE Metadata, citation and similar papers at core.ac.uk Provided by OTHES 2 3 Acknowledgements First of all, I would like to thank Univ.-Prof. Dr. Margarete Rubik, the first female Professor of English Literature at the University of Vienna, for sparking my interest in Restoration and eighteenth-century drama and for her ongoing support during the completion of this thesis. I would also like to thank Jessica Munns, editor of Restoration and Eighteenth- Century Theatre Research for making Jane Milling’s valuable article “A Gotham Election: Women and Performance Politics” available for me. Additionally, I would like to thank Susan Glover for providing me with bibliographical reference of her article “Laying Claim to Title: Mary Davys and Authorial Dispossession.” Dedication This thesis is dedicated to my partner, Michael Schmid, and to the fulfilment of our dreams, to my parents, Silvia and Alfred, to my siblings Gabriele, Gerhard, and Günter Grossberger, and to my second family, Roswitha and Peter Schmid. Thank you all for your loving and understanding support, motivation, and encouragement. 4 5 CONTENTS I. SETTING THE PLAYS AND THEIR PLAYWRIGHTS IN CONTEXT ............. 9 1. Introduction ............................................................................................ 9 2. Establishing the historical and political context............................... 12 2.1. End of the Interregnum and Restoration of the Stuart monarchy . -
The Cambridge Companion to Aphra Behn Edited by Derek Hughes and Janet Todd Frontmatter More Information
Cambridge University Press 0521527201 - The Cambridge Companion to Aphra Behn Edited by Derek Hughes and Janet Todd Frontmatter More information The Cambridge Companion to Aphra Behn Traditionally known as the first professional woman writer in English, Aphra Behn has now emerged as one of the major figures of the Restoration. During the 1670s and 1680s, she provided more plays for the stage than any other author, and greatly influenced the development of the novel with her ground- breaking fiction, especially Love-Letters between a Noble-Man and his Sister, and Oroonoko, the first English novel set in America. Behn’s work straddles the genres: beside drama and fiction, she also excelled in poetry and she made several important translations from French libertine and scientific works. The chapters in this Companion discuss and introduce her writings in all these fields and provide the critical tools with which to judge their aesthetic and historical importance. The book also includes a full bibliography, a detailed chronology, and a description of the known facts of her life. The Companion will be an essential tool for the study of this increasingly important writer and thinker. derek hughes is Professor of English Literature at the University of Aberdeen. In addition to many articles on Restoration drama and its back- ground, he has published Dryden’s Heroic Plays (1980), English Drama, 1660– 1700 (1996), and The Theatre of Aphra Behn (2001). He was the general editor of the six-volume Eighteenth Century Women Playwrights (2001), and has just completed an edition of early modern texts concerning slavery and America, which includes Behn’s and Southerne’s versions of Oroonoko. -
Politics of Gender and National Identity in Susanna Centlivre's
Anagnórisis. Revista de investigación teatral, nº. 16, diciembre de 2017 Págs. 54-79, ISSN: 2013-6986 www.anagnorisis.es Politics of Gender and National Identity in Susanna Centlivre’s Iberian Plays: A Defence of Whig Feminism Laura Martínez-García Universidad de Oviedo [email protected] Key Words: Centlivre. Whig. Feminism. Gender politics. Abstract: This paper argues that Susanna Centlivre’s choice of setting in her Portuguese plays (Marplot in Lisbon or the Second Part of The BusyBody (1710), The Wonder! A Woman Keeps a Secret (1714) and A Wife Well Mananag’d (1715)) not only works as the only logical meeting point where the clash of three cultures (British, Spanish and Portuguese) can take place, but as a liminal space where the author can freely express her views on politics, gender relations and the situation of women in Britain, a liminoid stage where, through déplacement, gender ideologies, identities, discourses of truth and national stereotypes can be contested, reformulated and interrogated. Políticas de género e identidad nacional en las obras ‘Ibéricas’ de Susanna Centlivre: una defensa del feminismo Whig Palabras clave: Centlivre. Feminismo. Whig. Políticas de género. Resumen: Este ensayo sostiene que la elección de Lisboa como escenario de las obras ‘Portuguesas’ (Marplot in Lisbon or the Second Part of The BusyBody (1710), The Wonder! A Woman Keeps a Secret (1714) y A Wife Well Mananag’d (1715)) de Susanna Centlivre, no solo atiende a una necesidad lógica (Portugal sería el terreno neutral en el que Gran Bretaña, -
This Is the File GUTINDEX.ALL Updated to July 5, 2013
This is the file GUTINDEX.ALL Updated to July 5, 2013 -=] INTRODUCTION [=- This catalog is a plain text compilation of our eBook files, as follows: GUTINDEX.2013 is a plain text listing of eBooks posted to the Project Gutenberg collection between January 1, 2013 and December 31, 2013 with eBook numbers starting at 41750. GUTINDEX.2012 is a plain text listing of eBooks posted to the Project Gutenberg collection between January 1, 2012 and December 31, 2012 with eBook numbers starting at 38460 and ending with 41749. GUTINDEX.2011 is a plain text listing of eBooks posted to the Project Gutenberg collection between January 1, 2011 and December 31, 2011 with eBook numbers starting at 34807 and ending with 38459. GUTINDEX.2010 is a plain text listing of eBooks posted to the Project Gutenberg collection between January 1, 2010 and December 31, 2010 with eBook numbers starting at 30822 and ending with 34806. GUTINDEX.2009 is a plain text listing of eBooks posted to the Project Gutenberg collection between January 1, 2009 and December 31, 2009 with eBook numbers starting at 27681 and ending with 30821. GUTINDEX.2008 is a plain text listing of eBooks posted to the Project Gutenberg collection between January 1, 2008 and December 31, 2008 with eBook numbers starting at 24098 and ending with 27680. GUTINDEX.2007 is a plain text listing of eBooks posted to the Project Gutenberg collection between January 1, 2007 and December 31, 2007 with eBook numbers starting at 20240 and ending with 24097. GUTINDEX.2006 is a plain text listing of eBooks posted to the Project Gutenberg collection between January 1, 2006 and December 31, 2006 with eBook numbers starting at 17438 and ending with 20239. -
Women in the Western Theatre Tradition Antiquity to 1700
Women in the Western Theatre Tradition Antiquity to 1700 Timeline Classical Period The Greek Theatre 2000-1100 B.C.E. Bronze Age Arrival of the Greeks in Greece. Rise and Fall of the Mycenean kingdoms. Trojan War occurs near the end of this period 1400 B.C. Cult of Dionysus, God of Wine, intoxication and sexual vitality established in Greece 1100-800 B.C.E. Dark Age Social and political recovery, evolution of the Greek City State, Rebirth of literacy Homer writes The Iliad and Odyssey on the exploits of the great Trojan and Greek Heroes of the Trojan War. Hesiod writes the Theogony, an epic account of the gods, their origins and exploits 7th-6th B.C.E. Cult of Dionysus reaches its greatest power. Festivals started with choruses of satyrs dancing in the street, followed by “fat” people wearing phalli. Dithyramb, hymn or song of praise to Dionysus started celebrating his life, death and resurrection. Choral leader emerges. Becomes narrator, improvising the story in song while the chorus fills in the story with traditional song and dance Women Most women, as far as can be traced, live private, domestic lives under the domination of fathers and husbands. Women in aristocratic families sometimes educated. Great mythic figures of women – goddesses, queens, princesses, priestesses – who will become the subjects of the great tragedies, recorded in the writings of Hesiod and Homer. Sappho (630-12?-570) first extant woman poet in the Greek tradition writes. Widely admired for her lyrical and love poetry. Later European women writers often compared to her favorably as continuing to write in her tradition. -
Uncomfortable Sexualities in Centlivre's the Basset Table
Stretching the limits of gender and the genre: Uncomfortable sexualities in Centlivre’s The Basset Table (1705) Laura Martínez-García Universidad de Oviedo (España) Revista de Humanidades, 36 (2019). p. 85-107. ISSN 1130-5029 Stretching the limits of gender and the genre: Uncomfortable sexualities in Centlivre’s The Basset Table (1705) Jugando con los límites del género literario y la identidad de género: sexualidades incómodas en The Basset Table (1705) de Sussannah Centlivre Laura Martínez-García Universidad de Oviedo (España) [email protected] Fecha de recepción: 21 de abril de 2017 Fecha de aceptación: 16 de octubre de 2018 Resumen Centlivre ha sido considerada una de las mejores escritoras de comedia sentimental, un género literario que llegó a su máximo apogeo durante el siglo XVIII. Este ensayo argumenta que The Basset Table (1705), una de sus obras más significativas, no es una comedia sentimental al uso, ya que lleva un mensaje social subyacente mucho más profundo de lo que pueda parecer a simple vista y mucho más acorde con sus ideas políticas que los mensajes de la comedia sentimental. Este trabajo estudia también cómo esta obra teatral cuestiona los roles de género establecidos: minando la imagen de la mujer virtuosa y caritativa y del caballero valiente, a la vez que cuestiona la reforma de la viuda y el triunfo del bribón, Centlivre crea una crítica sutil pero extremadamente efectiva de una sociedad que no permite la existencia de las libertades individuales. Palabras clave: Comedia de reforma; Género; Centlivre; Whig; Sexualidad Abstract Centlivre has been regarded as a master of sentimental comedy, a genre that reached its maximum popularity in the 18th century. -
Uncle Hugo's Science Fiction Bookstore Uncle Edgar's Mystery Bookstore 2864 Chicago Ave
Uncle Hugo's Science Fiction Bookstore Uncle Edgar's Mystery Bookstore 2864 Chicago Ave. S., Minneapolis, MN 55407 Newsletter #94 June — August, 2011 Hours: M-F 10 am to 8 pm RECENTLY RECEIVED AND FORTHCOMING SCIENCE FICTION Sat. 10 am to 6 pm; Sun. Noon to 5 pm ALREADY RECEIVED Uncle Hugo's 612-824-6347 Uncle Edgar's 612-824-9984 Doctor Who Insider #1 (US version of the long-running Doctor Who Magazine. Fax 612-827-6394 Matt Smith on his latest foe, the Silence; the Sontarans; more). $6.99 E-mail: [email protected] Doctor Who Magazine #431 (Controversial Dalek redesign; writer Mark Gatiss Website: www.UncleHugo.com reveals some clues about his new episode; Janet Fielding uncovered; more).. $8.99 Doctor Who Magazine #432 (New series secrets; Matt Smith Karen Gillan, and Award News Arthur Darvill star in a special mini-adventure for Comic Relief; David Tennant tells us what he's doing for Red Nose Day; more). $8.99 Doctor Who Magazine #433 (Exclusive interview with Steven Moffat; Marked The nominees for Hugo Awards for Death? Amy Pond, The Doctor, River Song, Rory Pond: one of them will die in the for Best Novel are Cryoburn by Lois season opener; more. Four separate collectors' covers, one featuring each character)$.8.99 McMaster Bujold ($25.00 signed), Feed Fantasy & Science Fiction May/June 2011 (New fiction, reviews, more).$7.50 by Mira Grant ($9.99), The Hundred Locus #603 April 2011 (Interviews with Shaun Tan and Dani & Eytan Kollin; Thousand Kingdoms by N. K. Jemisin industry news, reviews, more)......................................... -
A Re-Examination of Spectacle and the Spectacular in Restoration Theatre, 1660-1714
Changing Scenes and Flying Machines: A Re-examination of Spectacle and the Spectacular in Restoration Theatre, 1660-1714 Lyndsey Bakewell A Doctoral Thesis Submitted in partial fulfilment of the requirements for the award of Doctor of Philosophy at Loughborough University October 2015 ©Lyndsey Bakewell, 2015 i Abstract Changing Scenes and Flying Machines: A Re-examination of Spectacle in Restoration Theatre, 1660-1714. Key words: Restoration Theatre, Spectacle, Plays, Machinery, Scenery, Costumes, Performers, Puppetry, Automata, Special Effects. This thesis builds upon the existing scholarship of theatrical historians such as Robert D. Hume, Judith Milhous and Jocelyn Powell, and seeks to broaden the notion of the term spectacle in relation to Restoration theatrical performances, as defined by Milhous as scenery, machinery, large cast sizes and music.1 By arguing that we should not see spectacle in Restoration theatre merely in terms of machinery and scenery, as some have done, but that it properly includes a wider range of elements, such as puppetry and performers, the thesis contends that spectacle on the Restoration stage was more of an integral aspect of theatrical development than previously thought. Through drawing on the wide aspects of theatrical presentation, including setting, stage use, mechanics, costumes and properties, puppetry and performers, this thesis examines how the numerous aspects of the Restoration performance, both in their singularity and as a collective, provided a performance driven by spectacle in order to create an appealing entertainment for its audience. In order to navigate and appreciate the complexity of theatrical performance in this period, the thesis has been divided into key aspects of theatrical presentation, each of which are argued to offer a variant of spectacle. -
Dramatic Literature II CFA DR101 A1, Spring 2008 Tuesday & Thursday, 9
Dramatic Literature II CFA DR101 A1, Spring 2008 Tuesday & Thursday, 9:30-11:00 Theatre Lab Syllabus Instructor Emma Dassori ([email protected]) Teaching Assistants Rey Lopez ([email protected]) Tara Matkosky ([email protected]) Andrea Southwick ([email protected]) Course objective: Throughout history the theatre has taken on many roles in society. Some cultures have revered it; others have reviled it. In every case theatre has served as a measure of its time, reflecting the values of the age in which it appears. This course seeks to provide you with a foundation of knowledge of dramatic literature from the late seventeenth through the end of the nineteenth century. We will observe the ways in which nationalism, ethnicity, gender, sexuality, race, religion, politics, and class have shaped the history of playwriting and performance. You will develop and refine the skills of close reading, analysis, and interpretation. My hope is that you will leave the class armed with a deep knowledge and understanding of the periods we cover, as well as the ability, confidence, and real desire to incorporate this new-found insight into your own work as theatre artists. Attendance: Attendance is critical to your progress in this course. Classes begin promptly at 9:30. Please arrive on time. Attendance will be taken at the beginning of each class. You will be counted late if you arrive after attendance has been taken. Tardiness will count as half an absence. If you accumulate more than three unexcused absences your grade will be affected. Unexcused absences include classes missed due to minor illnesses (colds, etc.) and outside appointments.