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The Family of Love charts a successful love intrigue between the
cash-strapped Gerardine, and Maria, the sequestered niece of the
mercenary Doctor Glister. Their romance unfolds against the
dissection of two citizen marriages, the Glisters' and the Purges'.
Mistress Purge attends Familist meetings independently, arousing
her husband's suspicions about her marital fidelity. Two
libertines, Lipsalve and Gudgeon, go in search of sex and
solubility (freedom from constipation), receiving more than they
bargain for in respect of the latter. This scholarly edition of
Family of Love marks the first occasion on which the comedy is
attributed to Lording Barry in print. It brings together literary
and historical discussion with a thorough analysis of the play's
disputed authorship. Tomlinson highlights Barry's rich vein of
burlesque humour in a comedy that combines magic, a trunk, and a
mock-court session with vigorous colloquial language. -- .
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.
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 which 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.
Brings together three much-discussed seventeenth-century plays in
an accessible and scholarly edition for the first time, allowing
for comparative and contextual studies A substantial co-authored
introduction addresses questions of elite female culture in the
early modern period and the emergence of the professional female
actor All three editors have an established reputation in the field
of seventeenth-century scholarship, and have produced pioneering
work on elite female culture and the stage The volume is innovative
in terms of its attention to questions of gender and performance as
they are staged and explored in seventeenth-century drama Offers
varied examples of theatrical practice and performance while also
considering lines of interaction and influence between the writers
and plays discussed
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