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Theatre has always been a site for selling outrage and sensation, a
place where public reputations are made and destroyed in
spectacular ways. This is the first book to investigate the
construction and production of celebrity in the British theatre.
These exciting essays explore aspects of fame, notoriety and
transgression in a wide range of performers and playwrights
including David Garrick, Oscar Wilde, Ellen Terry, Laurence Olivier
and Sarah Kane. This pioneering volume examines the ingenious ways
in which these stars have negotiated their own fame. The essays
also analyze the complex relationships between discourses of
celebrity and questions of gender, spectatorship and the operation
of cultural markets.
Towards the end of the eighteenth century, a major transformation
took place in British dramatic culture. At the heart of that
transformation was the controversial emergence of an illegitimate
theatre, and a cultural struggle between London's patent playhouses
(Drury Lane, Covent Garden and the Haymarket) and the new,
so-called minor theatres. This was the first book to explore the
institutions, genres, and performance history of this illegitimate
theatre. Jane Moody's lively account considers the prohibition of
tragedy and comedy at London's minor theatres and describes the
various ingenious ways in which performers circumnavigated the law.
Moody brings to light illicit productions of Shakespeare and the
minor theatres' fascination with dramatic subjects censored on the
legitimate stage. Illegitimate Theatre represents an important
contribution to our understanding of nineteenth-century cultural
politics and also offers a powerful critique of theatre's position
in the literary history of Romanticism.
This Companion offers a wide-ranging and innovative introduction 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.
This Companion offers a wide-ranging and innovative introduction 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.
Toward the end of the eighteenth century, a major transformation took place in British dramatic culture with the emergence of an illegitimate theater and the struggle between London's patent playhouses (Drury Lane, Covent Garden, and the Haymarket) and the new, so-called minor theaters. This is the first book to explore the institutions, genres, and performance history of this illegitimate theater. Jane Moody's lively account considers the prohibition of tragedy and comedy at London's minor theaters, interpretations of Shakespeare, and describes the ingenious ways in which performers circumnavigated the law.
More and more evidence is confirming that "breast is best" for both
baby and mother. Increasing numbers of women are choosing to
breastfeed, yet sometimes "the natural thing to do" can present
difficulties. Nearly 200 women contributed their experiences to the
authors of the book. They talk about their experience
breastfeeding, from the first few days, through to becoming
confident together, returning to work and weaning.
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