Shearer West Phd Thesis Vol2
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Rivals for the Repertory: Theatre and Novel in Georgian London” by ROS BALLASTER
Restoration and Eighteenth-Century Theatre Research “Rivals for the Repertory: Theatre and Novel in Georgian London” BY ROS BALLASTER Volume 27, Issue 1 (Summer 2012) Recommended Citation: Ballaster, Ros. “Rivals for the Repertory: Theatre and Novel in Georgian London.” Restoration and Eighteenth-Century Theatre Research 27.1 (Summer 2012): 5-24. R http://rectrjournal.org ISSN 0034-5822 27.1 R Rivals for the Repertory: Theatre and Novel in Georgian London Ros Ballaster University of Oxford Abs: [Acres] is likewise a rival of mine—that is of my other self’s, for he does not think his friend Capt. Absolute ever saw the lady in question;—and it is ridiculous enough to hear him complain to me of one Beverley a concealed skulking rival, who— Falk: Hush! he’s here. (Sheridan 25) n this brief exchange in act 2, scene 1 of Richard Brinsley Sheridan’s IThe Rivals (1775), Jack Absolute reveals the hidden and true rival to his courtship of the novel-besotted Lydia Languish: himself. In a play which pits him against two rivals for Lydia’s affections—Bob Acres and Sir Lucius O’Trigger—it becomes apparent that the only serious contender is his own entirely fictional creation, Ensign Beverley, the dashing impoverished sol- dier persona he has adopted to win her heart with the promise of adventure and elopement by comparison with dull approved marriage to a worthy young heir promoted by Lydia’s aunt and Jack’s father. The dangerous influence of the novel leads his wayward beloved to put at risk the union he plans, but Jack counteracts Lydia’s devotion to novelistic plotting by deploying the intrigue techniques of the modern drama; he maintains his part as Beverley to Lydia and his other role as Ab- solute to his father and her aunt. -
Her Hour Upon the Stage: a Study of Anne Bracegirdle, Restoration Actress
Utah State University DigitalCommons@USU All Graduate Theses and Dissertations Graduate Studies 5-1965 Her Hour Upon the Stage: A Study of Anne Bracegirdle, Restoration Actress Julie Ann Farrer Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/etd Part of the English Language and Literature Commons Recommended Citation Farrer, Julie Ann, "Her Hour Upon the Stage: A Study of Anne Bracegirdle, Restoration Actress" (1965). All Graduate Theses and Dissertations. 2862. https://digitalcommons.usu.edu/etd/2862 This Thesis is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Theses and Dissertations by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. HER HOUR UPON THE STAGE: A STUDY OF ANNE BRAC EGIRDLE, RESTORATION ACTRESS by Julie Ann Farrer A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF ARTS in English UTAH STATE UNIVERSITY Logan, Utah 1965 ACKNOWLEDGMENTS This thesis, in its final form, owes much to a number of willing people, without whose help the entire undertaking would be incomplete or else impossible. First thanks must go to Dr. Robert C. Steensma, chairman of my committee, and an invaluable source of help and encour agement throughout the entire year. I am also indebted to the members of my committee, Dr. Del Rae Christiansen and Dr. King Hendricks for valid and helpful suggestions . Appreciation is extended to Utah State University, to the English department and to Dr. Hendricks . I thank my understanding parents for making it possible and my friends for ma~ing it worthwhile . -
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. -
DRURY LANE ADDRESSES by Byron and Others Edited by Peter Cochran
1 DRURY LANE ADDRESSES by Byron and others edited by Peter Cochran This site presents ten separate texts (three by Byron), each illustrating, in different ways, Byron’s relationship with the Theatre Royal, Drury Lane. Sheridan: two perspectives 1: Alexander Pope: Epilogue to Rowe’s Jane Shore 2: Samuel Johnson: Prologue Spoken by Mr. Garrick at the Opening of the Theatre in Drury-Lane, 1747 3: Byron: Address, spoken at the opening of Drury-Lane Theatre, Saturday, October 20, 1812 4: James and Horace Smith: Cui Bono? By Lord B. 5: Thomas Busby: Monologue submitted to the Committee of Drury Lane Theatre 6: Byron: Parenthetical Address, by Dr. Plagiary 7: G.F.Busby: Unalogue 8: Byron: Epilogue to The Merchant of Venice Intended for a Private Theatrical 9: John Cam Hobhouse: Prologue to Charles Maturin’s Bertram 10: Byron: Monody on the death of the Right Hon. R. B. Sheridan spoken at Drury-Lane Theatre The Theatre Royal Drury Lane was one of the two patent or monopoly theatres of Byron’s day (the other being Covent Garden), which were licensed to play “tragedy” and “comedy”. Only at these two could Shakespeare be put on. They were in competition with at least eight other unofficial London theatres, where spoken dialogue was theoretically forbidden, and which therefore put on harlequinades, operettas, equestrian and other animal shows, pantomimes, clowns, aquatic events, and numerous other entertaining and popular hybrids. The monopoly of the two huge patent theatres was resented as elitist and anachronistic by many people: Byron never refers to it, but takes it for granted. -
Season of 1705-1706{/Season}
Season of 1705-1706 anbrugh’s company began the autumn back at Lincoln’s Inn Fields V while they awaited completion of the theatre they had opened with a conspicuous lack of success the previous April. When the Queen’s Theatre in the Haymarket reopened on 30 October with the première of Vanbrugh’s own The Confederacy (a solid success), competition on something like an equal basis was restored to the London theatre for the first time since the union of 1682. Bitter as the theatrical competition of the late 1690s had been, it was always unequal: Rich had enjoyed two good theatre buildings but had to make do with mostly young and second-rate actors; the cooperative at Lin- coln’s Inn Fields included practically every star actor in London, but suffered from a cramped and technically inadequate theatre. By the autumn of 1705 the senior actors had become decidedly long in the tooth, but finally had a theatre capable of staging the semi-operas in which Betterton had long spe- cialized. Against them Rich had a company that had grown up: among its members were such stars as Robert Wilks, Colley Cibber, and Anne Oldfield. The failed union negotiations of summer 1705 left both managements in an ill temper, and for the first time in some years both companies made a serious effort to mount important new shows. Competition was at its hottest in the realm of opera. Under the circum- stances, this was hardly surprising: Betterton had been hankering after the glory days of Henry Purcell’s semi-operas since he was forced out of Dorset Garden in 1695; Vanbrugh was strongly predisposed toward experimenting with the new, all-sung Italianate form of opera; and Christopher Rich, having evidently made fat profits off Arsinoe the previous season, was eager for an- other such coup. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author didsend notUMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note wül indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the origmal manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnation Company 300 Horth Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 THOMAS KING AT SADLER'S WELLS AND DRURY LANE: PROPRIETORSHIP AND MANAGEMENT IN LATE EIGHTEENTH-CENTURY ENGLISH THEATRE, 1772-1788 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Evan M. -
Spectacular Disappearances: Celebrity and Privacy, 1696-1801
Revised Pages Spectacular DiSappearanceS Revised Pages Revised Pages Spectacular Disappearances Celebrity and Privacy, 1696– 1801 Julia H. Fawcett University of Michigan Press Ann Arbor Revised Pages Copyright © 2016 by Julia H. Fawcett All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by the University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2019 2018 2017 2016 4 3 2 1 A CIP catalog record for this book is available from the British Library. ISBN 978– 0- 472– 11980– 6 (hardcover : alk. paper) ISBN 978– 0- 472– 12180– 9 (e-book) Revised Pages Acknowledgments I have often wondered if my interest in authors who wrote themselves in order to obscure themselves stems from my own anxieties about the permanence of the printed word—m y own longing (that I imagine everyone shares?) for words that linger on the page for a moment only and then— miraculously, mercifully— disappear before their inadequacies can be exposed. I think I will always harbor this anxiety, but I have been blessed with mentors, colleagues, friends, and family members who have known how to couch their criticism in kindness and without whom I could never have summoned the courage to keep this work up or to set these words down. The germs for this book’s ideas began many years ago, when, as an under- graduate at Harvard, I stumbled somewhat accidentally (to fulfill a require- ment) into Lynn Festa’s course on “Sex and Sensibility during the Enlighten- ment.” Thank goodness for requirements. -
Chapter 1: the Seventeenth Century Actresses
Notes CHAPTER 1: THE SEVENTEENTH CENTURY ACTRESSES 1. John Genest, Some Account of the English Stage from the Restoration to 1830, vol. I (Bath, 1832), p. 37. 2. Dr John Doran, Their Majesties' Servants: Annals of the English Stage, vol. I (London: William H. Allen & Co., 1864), p. 60. 3. E. K. Chambers, Modern Language Review, XI (October 1916) 466. Also, see Chambers's book The Medieval Stage, vol. II (London, 1948), p. 409. 4. As quoted in Genest, vol. I, p. 37 from Richard Brome's The Court Beggar (1632) and James Shirley's The Ball (1639) in which Freshwater, speaking of the plays in Paris, says, 'Yet the women are the best actors, they Play their own parts, a thing much desir'd in England.' 5. Thornton Shirley Graves, 'Women of the Pre-Restoration Stage,' Studies in Philology, XXII, No.2 (1925) 189, 192-3. The record on which Graves draws is Reyher's Les Masques Anglais, p. 25. 6. Robert Latham and William Matthews (eds), The Diary of Samuel Pepys, vol. I (London, 1970), p. 224. 7. John Downes, Roscius Anglicanus (London, 1708), p. 19. 8. Pepys, vol. II, p. 7. 9. Colley Cibber, An Apology for His Life (London, 1740), p. 55. 10. Pepys, vol. IX, p. 425. 11. Downes, p. 19. 12. She was introduced to the world by means of a hilarious prologue especially written by Thomas Jordan to show what a ridiculous figure the boy- actor had been cutting: Henry Wisham Lanier, The First English Actresses: 1660-1700 (New York, 1930), p. 31. -
Ballad Opera in England: Its Songs, Contributors, and Influence
BALLAD OPERA IN ENGLAND: ITS SONGS, CONTRIBUTORS, AND INFLUENCE Julie Bumpus A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 7, 2010 Committee: Vincent Corrigan, Advisor Mary Natvig ii ABSTRACT Vincent Corrigan, Advisor The ballad opera was a popular genre of stage entertainment in England that flourished roughly from 1728 (beginning with John Gay's The Beggar's Opera) to 1760. Gay's original intention for the genre was to satirize not only the upper crust of British society, but also to mock the “excesses” of Italian opera, which had slowly been infiltrating the concert life of Britain. The Beggar's Opera and its successors were to be the answer to foreign opera on British soil: a truly nationalistic genre that essentially was a play (building on a long-standing tradition of English drama) with popular music interspersed throughout. My thesis explores the ways in which ballad operas were constructed, what meanings the songs may have held for playwrights and audiences, and what influence the genre had in England and abroad. The thesis begins with a general survey of the origins of ballad opera, covering theater music during the Commonwealth, Restoration theatre, the influence of Italian Opera in England, and The Beggar’s Opera. Next is a section on the playwrights and composers of ballad opera. The playwrights discussed are John Gay, Henry Fielding, and Colley Cibber. Purcell and Handel are used as examples of composers of source material and Mr. Seedo and Pepusch as composers and arrangers of ballad opera music. -
The Library. Post-Restoration Quartos of Shakespeare's^ Plays
Third Scries, No. 15, VOL. IV. Downloaded from THE LIBRARY. http://library.oxfordjournals.org/ POST-RESTORATION QUARTOS OF SHAKESPEARE'S^ PLAYS. [ISS H. C. BARTLETT, in her valu- able article on the quarto editions of 'Julius Caesar' in the last number of at University of California, Santa Barbara on August 25, 2015 (THE LIBRARY, points out the need of ] a review of the quarto editions of the plays which appeared after the First Folio (1623) and before the end of the seventeenth century. I have for some time been engaged in the collection of information respecting the quartos which were published after the Restoration, and I propose in this paper to submit a slight account of the quarto editions of each play arranged in alphabetical order, giving due notice of the different adaptations of the plays which became common after the Restoration. On the occasion of the opening of the theatres after their total abolition during the Common- wealth, the managers had to begin entirely afresh, and appeal to a public quite unused to theatrical entertainments. They were taken by surprise, iv. - s 238 POST-RESTORATION QUARTOS and were unprepared with new plays. They were, therefore, obliged to fall back upon the old plays which were divided between the two companies acting at the King's and Duke's Theatres, managed Downloaded from respectively by Thomas Killigrew and Sir William Davenant. Many of Shakespeare's plays had fallen into neglect, and only a small number were considered to be available. Killigrew's share of these plays consisted of: http://library.oxfordjournals.org/ Julius Cassar. -
Research Guide for Archival Sources of Smock Alley Theatre, Dublin
Research Guide for Archival Sources of Smock Alley theatre, Dublin. October 2009 This research guide is intended to provide an accessible insight into the historical, theatrical and archival legacy of Smock Alley theatre, Dublin. It is designed as an aid for all readers and researchers who have an interest in theatre history and particularly those wishing to immerse themselves in the considerable theatrical legacy of Smock Alley theatre and it’s array of actors, actresses, directors, designers, its many scandals and stories, of what was and is a unique theatrical venue in the fulcrum of Dublin’s cultural heart. Founded in 1662 by John Ogilby, Smock Alley theatre and stage was home to many of the most famous and talented actors, writers and directors ever to work and produce in Ireland, England, Scotland and Wales, throughout the seventeenth and eighteenth century. Celebrated players included Peg Woffington, David Garrick, Colley Cibber, Spranger Barry and George Ann Bellamy. Renowned managers and designers such as John Ogilby, Thomas Sheridan, Louis De Val and Joseph Ashbury would help cement the place of Smock Alley theatre as a venue of immense theatrical quality where more than just a play was produced and performed but more of a captivating, wild and entertaining spectacle. The original playbills from seventeenth century productions at Smock Alley detail many and varied interval acts that often took place as often as between every act would feature singing, dancing, farce, tumbling, juggling and all manner of entertainment for the large public audience. Smock Alley was celebrated for its musical and operatic productions as well as its purely dramatic performances. -
Melanie Bigold, ' “The Theatre of the Book”: Marginalia and Mise En
occasional publications no.1 ‘Theatre of the Book’ Marginalia and Mise en Page in the Cardiff Rare Books Restoration Drama Collection Melanie Bigold Centre for Editorial and Intertextual Research, Cardiff University ‘ “Theatre of the Book”: Marginalia and Mise en Page in the Cardiff Rare Books Restoration Drama Collection’ (CEIR Occasional Publications No. 1). Available online <http://cardiffbookhistory.files.wordpress.com/2013/12/bigold.pdf>. © 2013 Melanie Bigold; (editor: Anthony Mandal). The moral rights of the author have been asserted. Originally published in December 2013, by the Centre for Editorial and Intertextual Research, Cardiff University. Typeset in Adobe Minion Pro 11 / 13, at the Centre for Editorial and Intertextual Research, using Adobe InDesign cc; final output rendered with Adobe Acrobat xi Professional. Summary he value-added aspect of both marginalia and provenance has long Tbeen recognized. Ownership marks and autograph annotations from well-known writers or public figures increase the intellectual interest as well as monetary value of a given book. Handwritten keys, pointers, and marginal glosses can help to reveal unique, historical information unavaila- ble in the printed text; information that, in turn, can be used to reconstruct various reading and interpretive experiences of the past. However, increas- ingly scholars such as Alan Westphall have acknowledged that the ‘study of marginalia and annotations’ results in ‘microhistory, producing narratives that are often idiosyncratic’. While twenty to fifty percent of early modern texts have some sort of marking in them, many of these forays in textual alterity are unsystematic and fail to address, as William Sherman notes, ‘the larger patterns that most literary and historical scholars have as their goal’.