The Oxford Handbook of the Georgian Theatre 17371832 Oxford Handbooks of Literature

The Oxford Handbook Of The Georgian Theatre 1737-1832 Provides An Essential Guide To Theatre In Britain Between The Passing Of The Stage Licensing Act In 1737 And The Reform Act Of 1832 -- A Period Of Drama Long Neglected But Now Receiving Significant Scholarly Attention. Written By Specialists From A Range Of Disciplines, Its Forty Essays Both Introduce Students And Scholars To The Key Texts And Contexts Of The Georgian Theatre And Also Push The Boundaries Of The Field, Asking Questions That Will Animate The Study Of Drama In The Eighteenth And Early Nineteenth Centuries For Years To Come. The Handbook Gives Equal Attention To The Range Of Dramatic Forms -- Not Just Tragedy And Comedy, But The Likes Of Melodrama And Pantomime -- As They Developed And Overlapped Across The Period, And To The Occasions, Communities, And Materialities Of Theatre Production. It Includes Sections On Historiography, The Censorship And Regulation Of Drama, Theatre And The Romantic Canon, Women And The Stage, And The Performance Of Race And Empire. In Doing So, The Handbook Shows The Centrality Of Theatre To Georgian Culture And Politics, And Paints A Picture Of A Stage Defined By Generic Fluidity And Experimentation; By Networks Of Performance That Spread Far Beyond London; By Professional Women Who Played Pivotal Roles In Every Aspect Of Production; And By Its Complex Mediation Of Contemporary Attitudes Of Class, Race, And Gender. -- Publisher's Description. Introduction / David Frances Taylor -- Part I: Theatre, Theory, Historiography -- Part Ii: Legislating Drama -- Part Iii: The Changing Cultures Of Performance -- Part Iv: The Whole Show: Spectacles, Sounds, Spaces -- Part V: Genres And Forms -- Part Vi: Theatre And The Romantic Canon -- Part Vii: Women And The Stage -- Part Viii: Performing Race And Empire. Edited By Julia Swindells And David Francis Taylor. Includes Bibliographical References And Index. The Oxford Handbook of the Georgian Theatre 1737-1832 provides an essential guide to theatre in Britain between the passing of the Stage Licensing Act in 1737 and the Reform Act of 1832 a period of drama long neglected but now receiving significant scholarly attention. Written by specialists from a range of disciplines, its forty essays both introduce students and scholars to the key texts and contexts of the Georgian theatre and also push the boundaries of the field, asking questions that will animate the study of drama in the eighteenth and early nineteenth centuries for years to come. The Handbook gives equal attention to the range of dramatic forms not just tragedy and comedy, but the likes of melodrama and pantomime as they developed and overlapped across the period, and to the occasions, communities, and materialities of theatre production. It includes sections on historiography, the censorship and regulation of drama, theatre and the Romantic canon, women and the stage, and the performance of race and empire. In doing so, it shows the centrality of theatre to Georgian culture and politics, and paints a picture of a stage defined by generic fluidity and experimentation; by networks of performance that spread far beyond London; by professional women who played pivotal roles in every aspect of production; and by its complex mediation of contemporary attitudes of class, race, and gender. This book provides an essential guide to theatre in Britain between the passing of the Stage Licensing Act in 1737 and the Reform Act of 1832 - a period of drama long neglected but now receiving significant scholarly attention. Written by specialists from a range of disciplines, its forty essays both introduce students and scholars to the key texts and contexts of the Georgian theatre and also push the boundaries of the field, asking questions that will animate the study of drama in the eighteenth and early nineteenth centuries for years to come. The 'Handbook' gives equal attention to the range of dramatic forms - not just tragedy and comedy, but the likes of melodrama and pantomime - as they developed and overlapped across the period, and to the occasions, communities, and materialities of theatre production. It includes sections on historiography, the censorship and regulation of drama, theatre and the Romantic canon, women and the stage, and the performance of race and empire Provides an essential guide to theatre in Britain between the passing of the Stage Licensing Act in 1737 and the Reform Act of 1832. Written by specialists from a range of disciplines, the 40 essays both introduce students and scholars to the key texts and contexts of the Georgian theatre and also push the boundaries of the field, asking questions that will animate the study of drama in the 18th and early 19th centuries for years to come