Women on Stage in Stuart Drama provides a 'prehistory' of the actress, filling an important gap in established accounts of how women came to perform in the Restoration theatre. Sophie Tomlinson uncovers and analyzes a revolution in theatrical discourse in response to the cultural innovations of two Stuart queens consort, Anna of Denmark and the French Henrietta Maria. Their appearances on stage in masques and pastoral drama engendered a new poetics of female performance, which registered acting as a powerful means of self-determination for women. The pressure of cultural change is inscribed in a plethora of dramatic texts that explore the imaginative possibilities inspired by female acting. These include plays by the key royalist women writers Margaret Cavendish, Duchess of Newcastle, and Katherine Philips. The material explored by Tomlinson illustrates a fresh vision of theatrical femininity and encompasses an unusually sympathetic interest in questions of female liberty and selfhood.
Women on Stage in Stuart Drama provides a 'prehistory' of the actress, filling an important gap in established accounts of how women came to perform in the Restoration theatre. Sophie Tomlinson uncovers and analyzes a revolution in theatrical discourse in response to the cultural innovations of two Stuart queens consort, Anna of Denmark and the French Henrietta Maria. Their appearances on stage in masques and pastoral drama engendered a new poetics of female performance, which registered acting as a powerful means of self-determination for women. The pressure of cultural change is inscribed in a plethora of dramatic texts that explore the imaginative possibilities inspired by female acting. These include plays by the key royalist women writers Margaret Cavendish, Duchess of Newcastle, and Katherine Philips. The material explored by Tomlinson illustrates a fresh vision of theatrical femininity and encompasses an unusually sympathetic interest in questions of female liberty and selfhood.
From the Abbess of Barking to Aphra Behn, women manipulated dramatic venues and settings to re-negotiate their place in society. This study examines the playing spaces for early modern women's drama and how women played with space in scripts and performances. Using selected texts from 1376 to 1705, Findlay shows how their drama operated in five key sites: homes, gardens, courts, convents and cities. Aristocratic houses, country estates and city streets are theatrically reconfigured as homes, empty shells and arenas of possibility. Courtly venues reveal queens as adept producers in the royal theatres of power, while convents and academies are playing spaces to explore the possibilities of female company. This book sketches theatre histories on to what is often a blank space, investigating the rich inter-textuality of spatial practices to provide a richer understanding of how early women's drama works.
From the Abbess of Barking to Aphra Behn, women manipulated dramatic venues and settings to re-negotiate their place in society. This study examines the playing spaces for early modern women's drama and how women played with space in scripts and performances. Using selected texts from 1376 to 1705, Findlay shows how their drama operated in five key sites: homes, gardens, courts, convents and cities. Aristocratic houses, country estates and city streets are theatrically reconfigured as homes, empty shells and arenas of possibility. Courtly venues reveal queens as adept producers in the royal theatres of power, while convents and academies are playing spaces to explore the possibilities of female company. This book sketches theatre histories on to what is often a blank space, investigating the rich inter-textuality of spatial practices to provide a richer understanding of how early women's drama works.
In the bestselling tradition of authors Antonia Fraser and David Starkey, Maureen Waller has written a fascinating narrative history---a brilliant combination of drama and biographical insight---of t
Paula de Pando analyses the engagement of historical she-tragedy with Restoration politics and culture, positioning Banks’s plays at the crossroads between Early Modern genres and the emerging discour
A feast for history lovers--the whole colorful parade of English history brilliantly captured in a single volume.From ancient times to the present day, the story of England has been laced with drama,
Meet the Duncans, a prominent family from Jamaica, Queens. They may be known for their big house, fancy cars, and lavish lifestyle, but that doesn't make them immune from some over-the-top drama.
NINE LIVESSee over here it's not like over there. Here there are neon lights. Here there are queens. Here there are rainbow flags draw high.One man and a suitcase filled with the past, uncertainty, hi
Bold and defiant, like the women profiled between its covers, YOU SAY I'M A DIVA LIKE IT'S A BAD THING is a cranked-up collection of affirmations for mommies on the edge, self-styled drama queens, and
Canada and the Idea of North examines the ways in which Canadians have defined themselves as a northern people in their literature, art, music, drama, history, geography, politics, and popular culture
One of Charlotte, North Carolina's most eligible bachelors, Jamal Ford, who uses his 30-Day Dating Plan to weed out drama queens, gold-diggers and baby mamas, meets his match in Catherine "Catt" Cason
Jamal Ford has narrowed his love life down to a science through the creation of his30-Day Dating Plan, a guide intended to weed out the drama queens, gold-diggers, and baby mamas from his ideal: part
Murray (drama and theater history, U. College Dublin) says Irish playwright O'Casey (1880-1964) was primarily a writer, and shows how his manual labor between the ages of 20 and 40 allowed him to read
