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Author: John Bernard
Publisher:
ISBN:
Category : Theater
Languages : en
Pages : 484
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Book Description
Author: John Bernard
Publisher:
ISBN:
Category : Theater
Languages : en
Pages : 484
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Book Description
Author: Frederick Burwick
Publisher: Cambridge University Press
ISBN: 0521889677
Category : Drama
Languages : en
Pages : 355
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Book Description
This book examines the radical changes in drama during the Romantic period, tracing how these changes affected theatre performance, acting, and audience.
Author: Enoch Pratt Free Library of Baltimore City
Publisher:
ISBN:
Category : Libraries
Languages : en
Pages : 434
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Book Description
Author:
Publisher:
ISBN:
Category : Drama
Languages : en
Pages : 886
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Book Description
Author: Jane Wessel
Publisher: University of Michigan Press
ISBN: 047222025X
Category : Performing Arts
Languages : en
Pages : 229
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Book Description
In 1710, England’s first copyright law gave authors the ability to own their works, but it was not until 1833 that literary property law was extended to protect dramatic performance. Between these dates, generations of playwrights grappled for control over their intellectual property in a cultural and legal environment that treated print differently from performance. As ownership became a central concern for many, actors fought to possess their dramatic parts exclusively, playwrights struggled to control and profit from repeat performances of their works, and managers tried to gain a monopoly over the performance of profitable plays. Owning Performance follows the careers of some of the 18th century’s most influential playwrights, actors, and theater managers as they vied for control over the period’s most popular shows. Without protection for dramatic literary property, these figures developed creative extra-legal strategies for controlling the performance of drama—quite literally performing their ownership. Their various strategies resulted in a culture of ephemerality, with many of the period’s most popular works existing only in performance and manuscript copies. Author Jane Wessel explores how playwrights and actors developed strategies for owning their works and how, in turn, theater managers appropriated these strategies, putting constant pressure on artists to innovate. Owning Performance reveals the wide-reaching effects of property law on theatrical culture, tracing a turn away from print that affected the circulation, preservation, and legacy of 18th century drama.
Author: Sir Adolphus William Ward
Publisher:
ISBN:
Category : English literature
Languages : en
Pages : 542
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Book Description
Author:
Publisher:
ISBN:
Category :
Languages : en
Pages : 550
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Book Description
Author: Sir Adolphus William Ward
Publisher:
ISBN:
Category : English literature
Languages : en
Pages : 550
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Book Description
Author:
Publisher:
ISBN:
Category :
Languages : en
Pages : 550
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Book Description
Author: Ian Newman
Publisher: Liverpool University Press
ISBN: 1800855605
Category : Performing Arts
Languages : en
Pages : 352
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Book Description
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 à 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.
