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This book offers an innovative account of how audiences and actors
emotionally interacted in the English theatre during the middle
decades of the eighteenth century, a period bookended by two of its
stars: David Garrick and Sarah Siddons. Drawing upon recent
scholarship on the history of emotions, it uses practice theory to
challenge the view that emotional interactions between actors and
audiences were governed by empathy. It carefully works through how
actors communicated emotions through their voices, faces and
gestures, how audiences appraised these performances, and mobilised
and regulated their own emotional responses. Crucially, this book
reveals how theatre spaces mediated the emotional practices of
audiences and actors alike. It examines how their public and
frequently political interactions were enabled by these spaces.
Scrapbooks, Snapshots and Memorabilia: Hidden Archives of
Performance asks the questions: What constitutes an archive? What
is worthy of being archived? And who decides? Performances are
ephemeral, so archival questions of selection and appraisal
determine which performances will be remembered by history and
which will not. The essays in this collection each explore a
different facet of the ephemerality of performance, and the traces
it leaves behind: from photographic stills of actors or sets; draft
scripts and production notes, theatre programs and reviews; the
language used to evoke the experience of watching a dance; to the
memories contained within a site which has been used for a
site-specific performance. Each of the contributors to Scrapbooks,
Snapshots and Memorabilia employs pertinent case studies to reveal
performances that are so often 'hidden' from the authoritative
archival view; for example, those by women, indigenous people,
amateurs and working people, and those outside metropolitan
centres. In this way, they build a powerful argument for
reconsidering - or at the very least, broadening - notions of what
the performance archive can be.
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