The Elizabethan Stage


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The Lively Arts of the London Stage, 1675–1725


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Unlike collections of essays which focus on a single century or whose authors are drawn from a single discipline, this collection reflects the myriad performance options available to London audiences, offering readers a composite portrait of the music, drama, and dance productions that characterized this rich period. Just as the performing arts were deeply interrelated, the essays presented here, by scholars from a range of fields, engage in dialogue with others in the volume. The opening section examines a famous series of 1701 performances based on the competition between composers to set William Congreve's masque The Judgment of Paris to music. The essays in the central section (the 'mainpiece') showcase performers and productions on the London stage from a variety of perspectives, including English 'tastes' in art and music, the use of dance, the depiction of madness and masculinity in both spoken and musical performances, and genres and modes in the context of contemporary criticism and theatrical practice. A brief afterpiece looks at comic pieces in relation to satire, parody and homage. By bringing together work by scholars of music, dance, and drama, this cross-disciplinary collection illuminates the interconnecting strands that shaped a vibrant theatrical world.




American Presidents Attend the Theatre


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Not every presidential visit to the theatre is as famous as Lincoln's last night at Ford's, but American presidents attended the theatre long before and long after that ill-fated night. In 1751, George Washington saw his first play, The London Merchant, during a visit to Barbados. John Quincy Adams published dramatic critiques. William McKinley avoided the theatre while in office, on professional as well as moral grounds. Richard Nixon met his wife at a community theatre audition. Surveying 255 years, this volume examines presidential theatre-going as it has reflected shifting popular tastes in America.




The Life of Richard Steele


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The Two Princes of Mpfumo


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A fascinating account of two eighteenth-century princes from East Africa, their travels, and their encounters with the British Empire and slavery In 1716 two princes from Mpfumo—what is today Maputo, the capital of Mozambique—boarded a ship licensed by the East India Company bound for England. Instead, their perfidious captain sold them into slavery in Jamaica. After two years of pleading their case, the princes—known in the historical record as Prince James and Prince John—convinced a lawyer to purchase them, free them, and travel with them to London. The lawyer perished when a hurricane wrecked their ship, but the princes survived and arrived in England in 1720. Even though the East India Company had initially thought that the princes might assist in their aspirations to develop a trade for gold in East Africa and for enslaved labor in Madagascar, its interest waned. The princes would need to look elsewhere to return home. It was at this point that members of the Royal African Company and the Society for Promoting Christian Knowledge took up their cause, in the hope that profit and perhaps Christian souls would follow. John would make it home, but tragically, James would end his own life just before the ship sailed for Africa. In The Two Princes of Mpfumo, Lindsay O’Neill brings to life individuals caught up in the eighteenth-century slave trade. O’Neill also shows how the princes’ experiences reflect the fragmented, chaotic, and often deadly realities of the early British empire. A fascinating and deeply researched historical narrative, The Two Princes of Mpfumo blurs the boundaries between the Atlantic and Indian ocean worlds; reveals the intertwined networks, powerful individuals, and unstable knowledge that guided British attempts at imperial expansion; and illuminates the power of African polities, which decided who lived and who died on their coasts.







Shakespeare in the Theatre: Trevor Nunn


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Sir Trevor Nunn is one of the most versatile and accomplished directors in the English-speaking theatre. This book examines his achievements as a director of Shakespeare within the wider context of debates on the cultural politics of Britain's theatrical institutions in the twentieth and twenty-first centuries. His approach has been marked by the combination of close textual analysis with inventive theatricality, in performance spaces ranging from the large stages of the Royal Shakespeare Company and the National Theatre to the intimacy of the companies' studio theatres. The principal focus of the book is on Nunn's work as director of Shakespeare during his artistic directorship of the RSC and the NT. The four core chapters focus in detail on major productions that can be said to have challenged and changed perceptions of the plays, including The Winter's Tale (RSC, 1969), the 'Roman Plays' season (RSC, 1972) and All's Well That Ends Well (RSC, 1982), and the studio productions of Macbeth (RSC 1976), Othello (RSC, 1989) and The Merchant of Venice (NT, 1999). The study draws on archive material, as well as reviews and other published commentary, including that of actors who have worked with him.




Voltaire on the English Stage


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Prologues and Epilogues of Restoration Theater


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Often perceived as merely formulaic or historical documents, dramatic prologues and epilogues – players’ comic, poetic bids for the audience’s good opinion – became essential parts of Restoration theater, appearing in over 90 percent of performed and printed plays between 1660 and 1714. Their popularity coincided with the rise of the English actress, and Prologues and Epilogues of Restoration Theater unites these elements in the first book-length study on the subject. It finds that these paratexts provided the first sanctioned space for actresses in Britain to voice ideas in public, communicate directly with other women, and perform comedy – arguably the most powerful type of speech, and one that enabled interrogation of misogynist social practices. This book provides a taxonomy of prologues and epilogues with a corresponding appendix, and demonstrates through case studies of Anne Bracegirdle and Anne Oldfield how the study of prologues and epilogues enriches Restoration theater scholarship. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.