1st Edition
Theatre and Culture in Early Modern England, 1650-1737 From Leviathan to Licensing Act
Edited By Catie Gill
Copyright 2010
190 Pages
by
Routledge
190 Pages
by
Routledge
190 Pages
by
Routledge
Also available as eBook on:
Framed by the publication of Leviathan and the 1713 Licensing Act, this collection provides analysis of both canonical and non-canonical texts within the scope of an eighty-year period of theatre history, allowing for definition and assessment that uncouples Restoration drama from eighteenth-century drama. Individual essays demonstrate the significant contrasts between the theatre of different... Read more
Contents: Introduction, Catie Gill; What do the servants know?, Paddy Lyons; Flinging the book away: books, reading and gender in the Restoration stage, Jacqueline Pearson; Coffee-houses and Restoration drama, Juan A. Prieto-Pablos; Sex and tyranny revisited: Waller's The Maid's Tragedy and Rochester's Valentinian, Sandra Clark; Sex, tyranny and the problem of allegiance: political drama during the Restoration, Warren Chernaik; The adaptation of 17th-century Spanish drama to the English stage during the Restoration period: the case of Chalderón, Jorge Braga Riera; The female wits: women writers at work, Jane Milling; 'Jilting jades'? Perceptions of female playgoers in the Restoration, 1660-1700, Fiona Ritchie; Revolution and the moral reform of the stage: the case of Durfey's The Marriage-Hater Matched (1692), MarÃa José Mora and Manuel J. Gómez-Lara; Works cited; Index.
Biography
Catie Gill is lecturer in Early Modern Writing at Loughborough University.
’... the ideas and observations found throughout this collection pivot future readings of the period’s drama, and English culture more broadly, in small but important ways.’ Journal of British Studies '... this volume contains a good deal of work that will be of value to specialists working on the particular plays, playwrights and themes that are analysed in the individual essays. Moreover, scholars grappling with the representation of gender in our period will find much to reward their curiosity here.' Restoration and Eighteenth-Century Theatre Research
