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.
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