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INFORMATION TO USERS This dissertation was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this docum ent have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)", If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap If necessary, sectioning is continued again - beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. University Microfilms 300 North Zeeb Road ^nn Arbor Michigan 48106 A Xerox Education Company 73-11,601 .ARNLR, Frederick Elliott, 1935- THE BUF.LETTA IN LONDON ' 0 MINOR THEATRES DURINO THE NINETEENTH CENTURY WITH A HANDLIST OF BURLETTAS. "A KIND OF POOP RELATION TO All OPERA". The Ohio State Uriversitv, Ph.D., 1972 Soeech-Theater University Microfilms,A XEROX Company , Ann Arbor, Michigan © 1973 FREDERICK ELLIOTT WARNER a l l Riarrs r e s e r v e d THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. THE BURLETTA IN LONDON'S MINOR THEATRES DURINO THE NINETEENTH CENTURY WITH A HANDLIST OF BURLET1AS "A Kind of Poor Relation to an Opera” DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of Hie Ohio State University Sy Frederick Elliott Warner, B.A. The Ohio State University 1972 Approved by PLEASE NOTE: Some pages may have indistinct print. Filmed as received. iversity Microfilms, A Xerox Education Company ACKNOWLEDGMENTS The vriter wishes to express his gratitude to Professor John H. McDowell for hie invaluable training in theatre liistory and the methods of historical research, without which this study would not have been possible. It is regrettable that Professor McDowell was on leave at the time that this study was completed and could not take part in its final preparation. The writer also wishes to thank Professor John C. Morrow for his encouragement and assistance in the preparation of this study; and Miss Mary-Jane Evans for her assistance in proofreading and her helpful suggestions on matters of form. » ii VITA December 16, 1935 Born, Dayton, Ohio 195*1 - 1957 German Linguist, U.S. Army Security Agency i960 B.A., The Ohio State University, Columbus, Ohio i 960 - 196^ Research Assistant, OSU Theatre Collection Department of Speech, The Ohio State University I 96U Scene Designer - Technical Director, Berea Summer Theatre, Baldwin - Wallace College, Berea, Ohio 1965 - 1967 Instructor - Lighting Designer, Department of Speech, Wisconsin State University, Oshkosh, Wisconsin 1 967 - 1966 Assistant to the Curator of Rare Books, OSU libraries, The Ohio State University 1 9 68 - 1969 Chief Review Bxaminer, Bureau of Support, The Ohio Youth Commission, Columbus, Ohio 1 9 6 9 - 1972 Lecturer - Curator, OSU Theatre Resrarch Institute, Department of Theatre, The Ohio State University PUBLICATIONS "The Ottoboni Theatre," The Ohio State University Theatre Collection Bulletin, XI, 195IT The OSU Theatre Collection 03assifjcation Manual. Columbus, Ohio: Tuc Ohio State University, j"9oo". Review of "Scene Design at the Comedie Frangeise 1901-1920," unpublished Ph.D. dissertation by John Edward Bielepberg. Theatre Studies, XVIII, 1971-72. iii FIELDS OF STUDY Major Field: Theatre Studies in Theatre History and Criticism. Professor John H. McDowell Studies in Modern Drama and Stage Direction. Professor Roy H. Bowen Studies in Dramatic Literature. Professor Charles C. Ritter Studies in Scenic and Costume Design. Professor George P. Crepeau Studies in Technical Theatre and Stage Lighting Design. Professor Valter S. Dewey Minor Field: English Literature Studies in Dramatic Literature. Professors John H* Wilson and Julian H. Markets Minor Field: Television Studies in Television Programming and Program Writing. Professors Harold B. Summers and Richard M. Mall iv TABLE OP CONTENTS Page ACKNOWLEDGMENTS.......................................... ii VITA ............................... * ....................... iii INTRODUCTION ................................................ 1 Chapter I. THE ORIGIN OF THE BURLETEA............................ 10 II. THE BURLETTA AND THE L A W .............................. 26 III. THE BURLETTA IN THE MINOR REPERTORY IN THE NINETEENTH CENTURY . ................................ 52 IV. CONCLUSION............................................. 61 APPENDIX: A HANDLIST OF BURLETTAS Introduction ................................. 92 A Handlist of Burlettas ..................... 95 BIBLIOGRAPHY .................... 159 V INTRODUCTION The Burletta is. the dramatic genre most closely associated with London's minor theatres of the nineteenth century. From about 1 8 0 0, when these theatres were first commonly licensed to perform burlettas, until 181+3 , when the practice of restricting theatrical licenses to certain kinds of performances was terminated, the minor houses and the genre were inseparable: the burletta was the drama of the minor theatres; the minors were theatres that performed burlettas. These basic facts can be deduced easily by sampling the theatrical writings of nineteenth-century Englishmen or from nearly any of the modern scholarly works that deal with the era. An attempt to learn very much about the burletta from these sources, however, Is likely to prove more confusing than enlightening. Nineteenth-century writers offer such a wealth of divergent and. conflicting descriptions of the burletta that little emerges clearly except its association with the minor playhouses. Fany complain that the term is impossible to define, as docs George Colman the Younger in his widely quoted remark, "ask now, what is a Burletta, and you will be told it Is one thing, at one theatre, and another, at another."^ Colman should have been as clear on the matter as anyone of his age: when he penned this comment In 1830, he was the British government's Licenser of Flays. ^George Column the Younger, Random Records, I (London: Henry Colburn and Richard Bentley, 1 8 3 0 ), p. 50. 1 2 Modern scholarship has shed little light on the matter of the burletta* In spite of its significance in British theatre history, the burletta has received scant attention from theatre scholars. Although many studies of the English stage mention the genre in passing, fev attempt to deal with it in any detail, or to define it more closely than as the drama of the minor theatres. Only three studies stand out as offering more than a passing glance at the burletta, and their coverage of the subject is far from complete. 2 Watson Nicholson*b The Struggle for a Free Stage in London is the most comprehensive treatment of the legal history of London's minor theatres. Nicholson details the efforts of the minors to break the great metropolitan theatres' monopoly on spoken drama during the eighteenth and nineteenth centuries, culminating in the general rewriting of England's theatrical lavs in I8U3 . Nicholson discusses fully the role of the burletta in the struggle between London's two theatrical classes: by gradually altering the legal definition of their "burlettas,” the minors were able to make them so nearly resemble the legitimate drama of the patent theatres that the letters' exclusive right to perform spoken drama became meaningless. Nicholson, however, gives no attention to the burletta as a dramatic genre; he is only concerned with the legal ramifications of the term in the operating licenses of the minor theatres. He tends to use the word "burletta" as a synonym for minor or "illegitimate" drama generally. 2 Watson Nicholson, The Struggle for a Free Stage in London (London: Archibald Constable « Co., Ltd.; Boston and Kev fork: Houghton, Mifflin & Co., 19^6). 3 In hie Sheridan to Robertson! A Study of the Nlncteenth- 3 Century London Stage, Ernest Bradlee Watson offers a more complete discussion of the "illegitimate" drama as veil as summarizing the legal controversy betveen the majors and the minors* In hie comments on the burletta, however, he uses the terra even more casually than does Nicholson. He treats the burletta as little more than a legal subterfuge, a name given by the minor playhouses to their works that encroached on the legitimate drama. Rather than attempting to define the burletta as a genre, Watson applies the word to nineteenth- century plays and dramatic commentary which make no such association themselves. In one instance, he quotes a lengthy 1828 description I* of a dumb-show as an example of an early burletta: the original makes no mention of the term, nor does any known nineteenth-century writer equate burlettas with dumb-shows. A more careful and thoughtful treatment of the burletta is found in Allardyce Nicoll's A History of English Drama, l660-1900»^ His hand-lists of English plays in the History contain many examples of the genre, often with useful information on productions, authorship, literary sources and other aspects of the plays.
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  • Eighteenth-Century Reception of Italian Opera in London

    Eighteenth-Century Reception of Italian Opera in London

    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 8-2013 Eighteenth-century reception of Italian opera in London. Kaylyn Kinder University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Kinder, Kaylyn, "Eighteenth-century reception of Italian opera in London." (2013). Electronic Theses and Dissertations. Paper 753. https://doi.org/10.18297/etd/753 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. EIGHTEENTH-CENTURY RECEPTION OF ITALIAN OPERA IN LONDON By Kaylyn Kinder B.M., Southeast Missouri State University, 2009 A Thesis Submitted to the Faculty of the Division of Music History of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Music Department of Music University of Louisville Louisville, Kentucky August 2013 EIGHTEENTH-CENTURY RECEPTION OF ITALIAN OPERA IN LONDON By Kaylyn Kinder B.M., Southeast Missouri State University, 2009 A Thesis Approved on July 18, 2013 by the following Thesis Committee: Jack Ashworth, Thesis Director Douglas Shadle Daniel Weeks ii ACKNOWLEDGEMENTS I would like to thank my advisor, Dr. Jack Ashworth, for his guidance and patience over the past two years. I would also like to thank the other members of my committee, Dr.