This study sets out the political and cultural conditions regulating writing for the stage during an era of censorship, the monopolistic royal theatres, and an emerging plebeian public sphere of drama
The theatre and drama of the late Georgian period have been the focus of a number of recent studies, but such work has tended to ignore its social and political contexts. Theatric Revolution redresse
Under the 1737 Licensing Act, Covent Garden, Dury Lane and regional Theatres Royal held a monopoly on the dramatic canon. This work explores the presentation of foreign cultures and ethnicities on the
By 1800 London had as many theatre seats for sale as the city's population. This was the start of the capital's rise as a centre for performing arts. Bringing to life a period of extraordinary theatrical vitality, David Worrall re-examines the beginnings of celebrity culture amidst a monopolistic commercial theatrical marketplace. The book presents an innovative transposition of social assemblage theory into performance history. It argues that the cultural meaning of drama changes with every change in the performance location. This theoretical model is applied to a wide range of archival materials including censors' manuscripts, theatre ledger books, performance schedules, unfamiliar play texts and rare printed sources. By examining prompters' records, box office receipts and benefit night takings, the study questions the status of David Garrick, Sarah Siddons and Edmund Kean, and recovers the neglected actress, Elizabeth Younge, and her importance to Edmund Burke.
Under the 1737 Licensing Act, Covent Garden, Dury Lane and regional Theatres Royal held a monopoly on the dramatic canon. This work explores the presentation of foreign cultures and ethnicities on the
By 1800 London had as many theatre seats for sale as the city's population. This was the start of the capital's rise as a centre for performing arts. Bringing to life a period of extraordinary theatrical vitality, David Worrall re-examines the beginnings of celebrity culture amidst a monopolistic commercial theatrical marketplace. The book presents an innovative transposition of social assemblage theory into performance history. It argues that the cultural meaning of drama changes with every change in the performance location. This theoretical model is applied to a wide range of archival materials including censors' manuscripts, theatre ledger books, performance schedules, unfamiliar play texts and rare printed sources. By examining prompters' records, box office receipts and benefit night takings, the study questions the status of David Garrick, Sarah Siddons and Edmund Kean, and recovers the neglected actress, Elizabeth Younge, and her importance to Edmund Burke.
The last volumes in the series of William Blake's Illuminated Books reveal the writer and artist as a prophet driven by a sense of apocalyptic urgency. Blake conceived and executed The Continental Pro
Blake, Nation and Empire challenges the orthodoxy of the politics of William Blake as exclusively radical, defined by his participation in the revolutionary ferment of the 1790s. It examines his work
