The Cambridge Companion to British Theatre, 1730–1830

Daniel O'Quinn

doi:10.1017/CCOL9780521852371

This Companion offers a wide-ranging and innovative guide to one of the most exciting and important periods in British theatrical history. The scope of the volume extends from the age of Garrick to the Romantic transformation of acting inaugurated by Edmund Kean. It brings together cutting-edge scholarship from leading international scholars in the long eighteenth century, offering lively and original insights into the world of the stage, its most influential playwrights and the professional lives of celebrated performers such as James Quin, George Anne Bellamy, John Philip Kemble, Dora Jordan, Fanny Abington and Sarah Siddons. The volume includes essential chapters about eighteenth-century acting, production and audiences, important surveys of key theatrical forms such as tragedy, comedy, melodrama and pantomime as well as a range of exciting thematic essays on subjects such as private theatricals, 'black' theatre and the representation of empire.

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Contents

Frontmatter
pp i-xxxii
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Part I - Performance
pp 1-2
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1 - Acting and actors from Garrick to Kean
pp 3-20
- By Peter Thomson
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2 - Dictating to the empire: performance and theatrical geography in eighteenth-century Britain
pp 21-42
- By Jane Moody
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3 - Scenography and technology
pp 43-56
- By Christopher Baugh
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4 - Spectatorship
pp 57-70
- By Jim Davis
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Part II - Genres
pp 71-72
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5 - The social life of eighteenth-century comedy
pp 73-86
- By Lisa A. Freeman
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6 - Tragedy
pp 87-102
- By Susan Staves
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7 - Pantomime
pp 103-114
- By John O’Brien
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8 - Romantic melodrama
pp 115-128
- By Jacky Bratton
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Part III - Identities
pp 129-130
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9 - The making of an English audience: the case of the footmen’s gallery
pp 131-144
- By Kristina Straub
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10 - Women playwrights
pp 145-158
- By Misty G. Anderson
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11 - Entertaining women: the actress in eighteenth-century theatre and culture
pp 159-174
- By Laura J. Rosenthal
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12 - Race and profit in English theatre
pp 175-188
- By Julie A. Carlson
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Part IV - Places of Performance
pp 189-190
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13 - Private theatricals
pp 191-204
- By Gillian Russell
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14 - Opera in the London theatres
pp 205-218
- By Michael Burden
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15 - Acting in the periphery: the Irish theatre
pp 219-232
- By Helen Burke
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16 - Theatre and empire
pp 233-246
- By Daniel O’Quinn
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Part V - Further Reading
pp 247-248
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17 - Reading theatre, 1730-1830
pp 249-260
- By Jonathan Mulrooney
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Bibliography
pp 261-273
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Index
pp 274-285
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Series list
pp 286-288
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The Cambridge Companion to British Theatre, 1730–1830

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Contents

Frontmatter
pp i-xxxii

Part I - Performance
pp 1-2

1 - Acting and actors from Garrick to Kean
pp 3-20

2 - Dictating to the empire: performance and theatrical geography in eighteenth-century Britain
pp 21-42

3 - Scenography and technology
pp 43-56

4 - Spectatorship
pp 57-70

Part II - Genres
pp 71-72

5 - The social life of eighteenth-century comedy
pp 73-86

6 - Tragedy
pp 87-102

7 - Pantomime
pp 103-114

8 - Romantic melodrama
pp 115-128

Part III - Identities
pp 129-130

9 - The making of an English audience: the case of the footmen’s gallery
pp 131-144

10 - Women playwrights
pp 145-158

11 - Entertaining women: the actress in eighteenth-century theatre and culture
pp 159-174

12 - Race and profit in English theatre
pp 175-188

Part IV - Places of Performance
pp 189-190

13 - Private theatricals
pp 191-204

14 - Opera in the London theatres
pp 205-218

15 - Acting in the periphery: the Irish theatre
pp 219-232

16 - Theatre and empire
pp 233-246

Part V - Further Reading
pp 247-248

17 - Reading theatre, 1730-1830
pp 249-260

Bibliography
pp 261-273

Index
pp 274-285

Series list
pp 286-288

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The Cambridge Companion to British Theatre, 1730–1830

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