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William Godwin is one of the most important figures of the Romantic
period. He wrote four plays at the end of the 18th/beginning of the
19th centuries. This book has two main objectives: to provide the
first comprehensive discussion of these four plays, and to consider
the notion of theatricality in relation to Godwin's political
project.
William Godwin is one of the most important figures of the Romantic
period. He wrote four plays at the end of the 18th/beginning of the
19th centuries. This book has two main objectives: to provide the
first comprehensive discussion of these four plays, and to consider
the notion of theatricality in relation to Godwin's political
project.
Best known for "Enquiry Concerning Political Justice" (1793) and
"Caleb Williams" (1794), William Godwin (1756-1836) is one of the
most important figures of the Romantic period. This book offers
academics the chance to build a complete picture of Godwin as a
writer and political figure.
Best known for "Enquiry Concerning Political Justice" (1793) and
"Caleb Williams" (1794), William Godwin (1756-1836) is one of the
most important figures of the Romantic period. This book offers
academics the chance to build a complete picture of Godwin as a
writer and political figure.
This collection reveals the wide-ranging impact of the Stage
Licensing Act of 1737 on literary and theatrical culture in
Georgian Britain. Demonstrating the differing motivations of the
state in censoring public performances of plays after the Stage
Licensing Act of 1737 and until the Theatres Act 1843, chapters
cover a wide variety of theatrical genres across a century and show
how the mechanisms of formal censorship operated under the Lord
Chamberlain's Examiner of Plays. They also explore the effects of
informal censorship, whereby playwrights, audiences and managers
internalized the censorship regime. As such, the volume moves
beyond a narrow focus on erasures and emendations visible on
manuscripts to elucidate censorship's wide-ranging significance
across the long eighteenth century. Demonstrating theatre archives'
potency as a resource for historical research, this volume is of
exceptional value for researchers interested in the evolving
complexities of Georgian society, its politics and mores.
The theatre was a crucial forum for the representation of Irish
civility and culture for the eighteenth-century English audience.
Irish actors and playwrights, operating both as individuals and
within networks, were remarkably popular and potent during this
period, especially in London. As ideas of Enlightenment percolated
throughout Britain and Ireland, Irish theatrical practitioners -
actors, managers, playwrights, critics and journalists - exploited
a growing receptivity to Irish civility, and advanced a patriot
agenda of political and economic autonomy. Mobility, toleration and
the capacity to negotiate multiple allegiances are marked features
of this Irish theatrical Enlightenment, whose ambitious
participants saw little conflict between their twin loyalties to
the Crown and to Ireland. This collection of essays responds to
recent work in the areas of eighteenth-century theatre studies,
Irish studies and Enlightenment studies. The volume's discussions
of genre, colonialism, gender, race, music, slavery, and dress open
up new avenues of scholarship and research across disciplines.
The theatre was a crucial forum for the representation of Irish
civility and culture for the eighteenth-century English audience.
Irish actors and playwrights, operating both as individuals and
within networks, were remarkably popular and potent during this
period, especially in London. As ideas of Enlightenment percolated
throughout Britain and Ireland, Irish theatrical practitioners -
actors, managers, playwrights, critics and journalists - exploited
a growing receptivity to Irish civility, and advanced a patriot
agenda of political and economic autonomy. Mobility, toleration and
the capacity to negotiate multiple allegiances are marked features
of this Irish theatrical Enlightenment, whose ambitious
participants saw little conflict between their twin loyalties to
the Crown and to Ireland. This collection of essays responds to
recent work in the areas of eighteenth-century theatre studies,
Irish studies and Enlightenment studies. The volume's discussions
of genre, colonialism, gender, race, music, slavery, and dress open
up new avenues of scholarship and research across disciplines.
Charles Macklin (1699?-1797) was one of the most important figures
in the eighteenth-century theatre. Born in Ireland, he began acting
in London in around 1725 and gave his final performance in 1789 -
no other actor can claim to have acted across seven decades of the
century, from the reign of George I to the Regency Crisis of 1788.
He is credited alongside Garrick with the development of the
natural school of acting and gave a famous performance of Shylock
that gave George II nightmares. As a dramatist, he wrote one of the
great comic pieces of the mid-century (Love a la Mode, 1759), as
well as the only play of the century to be twice refused a
performance licence (The Man of the World, 1781). He opened an
experimental coffeehouse in Covent Garden, he advocated
energetically for actors' rights and copyright reform for
dramatists, and he successfully sued theatre rioters. In short, he
had an astonishingly varied career. With essays by leading experts
on eighteenth-century culture, this volume provides a sustained
critical examination of his career, illuminating many aspects of
eighteenth-century theatrical culture and of the European
Enlightenment, and explores the scholarly benefit - and thrill - of
restaging Macklin's work in the twenty-first century.
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