Download e-book for kindle: The Cambridge Companion to British Theatre, 1730-1830 by Daniel O'Quinn
By Daniel O'Quinn
This significant other bargains a wide-ranging and cutting edge consultant to 1 of the main fascinating and demanding sessions in British theatrical heritage. The scope of the quantity extends from the age of Garrick to the Romantic transformation of appearing inaugurated via Edmund Kean. It brings jointly state of the art scholarship from major foreign students within the lengthy eighteenth century, delivering full of life and unique insights into the area of the degree, its so much influential playwrights and the pro lives of celebrated performers akin to James Quin, George Anne Bellamy, John Philip Kemble, Dora Jordan, Fanny Abington and Sarah Siddons. the amount contains crucial chapters approximately eighteenth-century performing, creation and audiences, very important surveys of key theatrical varieties resembling tragedy, comedy, melodrama and pantomime in addition to a number of intriguing thematic essays on topics comparable to inner most theatricals, 'black' theatre and the illustration of empire.
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Extra resources for The Cambridge Companion to British Theatre, 1730-1830 (Cambridge Companions to Literature)
Her mother, also Sarah, was the daughter of a provincial theatre manager, and evidently the impetus behind her husband’s following his father-in-law into management. The strength and the independence of the female line, from mother to daughter to daughter’s niece, famous in her own right as Fanny Kemble (1809–1893), are striking. Striking, too, is the provincial apprenticeship served by Sarah Siddons and the most famous of her siblings, John Philip 9 PETER THOMSON Kemble (1757–1823). We should be wary of assumptions that the provinces were the preserve of coarse acting throughout this period, though it is probably true that the style of performance encouraged in the intimate Georgian theatres outside the capital was ill-suited to the challenge of playing at the constantly enlarging patent theatres of London.
P. Kemble d. P. B. Shelley d. Malone’s Keats d. edition of Inchbald d. Shakespeare; Shelley writes A Defence of Poetry; Byron publishes Marino Faliero, Sardanapalus, The Two Foscari & Cain P. B. Shelley, Prometheus Unbound. Byron’s Don Kotzebue d. Juan; Cantos 1 and II; W. Scott’s essay on Drama; P. B. Shelley, The Cenci Bowdler, Family Shakespeare; Hazlitt, A View of the English Stage Jerrold, Black-Ey’d Susan (S) Jerrold, The Mutiny at the Nore (P) Vestris becomes manager of Olympic Wellington becomes Prime Minister Catholic Emancipation Act Revolution in Paris; death of George IV and accession of William IV 1828 1829 1830 Debut of Fanny Kemble in role of Juliet Mitford, Rienzi (DL) Turks take Athens 1827 Byron, Werner (Bath); Hugo’s Hernani begins fight between neoclassicists and Romantics (Paris) Hugo’s preface to Cromwell rejects neoclassical conventions Buckstone, Luke the Labourer (A); Mitford, Foscari (CG); Fitzball, The Flying Dutchman (A) 1826 Debut of C.
37 It seems probable that the interest taken by the Duchess of Leinster in Elizabeth Farren similarly mixed generosity with an element of procurement. The Duchess was Fox’s aunt, and knew his proclivities. She was on the fringes of the free-living 14 Acting and actors 1. Joshua Reynolds, Mrs Frances Abington as ‘Miss Prue’ in Congreve’s Love for Love. Devonshire House set, to which her brother, the immensely wealthy Duke of Richmond, belonged, and she may have shared the view of concupiscent aristocrats that actresses were fair game.
The Cambridge Companion to British Theatre, 1730-1830 (Cambridge Companions to Literature) by Daniel O'Quinn