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Author: Richard Schoch Publisher: Routledge ISBN: 131724236X Category : History Languages : en Pages : 335
Book Description
First published in 2003. Wildly popular in their own day, Victorian burlesques are now little read, scarcely studied, and never performed. Giving long overdue emphasis to an unjustly neglected theatrical tradition, this critical edition - the first to focus on Victorian burlesques of Victorian plays - represents a valuable scholarly tool for students and scholars of modern drama, theatre history, and nineteenth-century popular culture. Victorian Theatrical Burlesques includes a 'state-of-the-art' introduction which provides a general overview of theatrical burlesques in the Victorian era, emphasising performance history. Sustained reference is made to burlesques other than those presented in the anthology. Through its general introduction, prefaces and annotations to individual plays, checklist of burlesque plays, and bibliography, the unique volume allows both specialist and non-specialist readers to see Victorian burlesques as a rich historical record of shifting attitudes toward drama and the theatre.
Author: Richard Schoch Publisher: Routledge ISBN: 131724236X Category : History Languages : en Pages : 335
Book Description
First published in 2003. Wildly popular in their own day, Victorian burlesques are now little read, scarcely studied, and never performed. Giving long overdue emphasis to an unjustly neglected theatrical tradition, this critical edition - the first to focus on Victorian burlesques of Victorian plays - represents a valuable scholarly tool for students and scholars of modern drama, theatre history, and nineteenth-century popular culture. Victorian Theatrical Burlesques includes a 'state-of-the-art' introduction which provides a general overview of theatrical burlesques in the Victorian era, emphasising performance history. Sustained reference is made to burlesques other than those presented in the anthology. Through its general introduction, prefaces and annotations to individual plays, checklist of burlesque plays, and bibliography, the unique volume allows both specialist and non-specialist readers to see Victorian burlesques as a rich historical record of shifting attitudes toward drama and the theatre.
Author: Laura Monros-Gaspar Publisher: Bloomsbury Publishing ISBN: 1472537882 Category : History Languages : en Pages : 313
Book Description
The Victorian classical burlesque was a popular theatrical genre of the mid-19th century. It parodied ancient tragedies with music, melodrama, pastiche, merciless satire and gender reversal. Immensely popular in its day, the genre was also intensely metatheatrical and carries significance for reception studies, the role and perception of women in Victorian society and the culture of artistic censorship. This anthology contains the annotated text of four major classical burlesques: Antigone Travestie (1845) by Edward L. Blanchard, Medea; or, the Best of Mothers with a Brute of a Husband (1856) by Robert Brough, Alcestis; the Original Strong-Minded Woman (1850) and Electra in a New Electric Light (1859) by Francis Talfourd. The cultural and textual annotations highlight the changes made to the scripts from the manuscripts sent to the Lord Chamberlain's office and, by explaining the topical allusions and satire, elucidate elements of the burlesques' popular cultural milieu. An in-depth critical introduction discusses the historical contexts of the plays' premieres and unveils the cultural processes behind the reception of the myths and original tragedies. As the burlesques combined spectacular effects with allusions to contemporary affairs, ambivalent and provocative attitudes to women, the plays represent an essential tool for reading the social history of the era.
Author: Richard W. Schoch Publisher: Cambridge University Press ISBN: 9780521800150 Category : Drama Languages : en Pages : 236
Book Description
Burlesque has been a powerful and enduring weapon in the critique of 'legitimate' Shakespearean culture by a seemingly 'illegitimate' popular culture. This was true most of all in the nineteenth century. From Hamlet Travestie (1810) to Rosencrantz and Guildenstern (1891), Shakespeare burlesques were a vibrant, yet controversial form of popular performance: vibrant because of their exuberant humour; controversial because they imperilled Shakespeare's iconic status. Richard Schoch, in this study of nineteenth-century Shakespeare burlesques, explores the paradox that plays which are manifestly 'not Shakespeare' purport to be the most genuinely Shakespearean of all. Bringing together archival research, rare photographs and illustrations, close readings of burlesque scripts, and an awareness of theatrical, literary and cultural contexts, Schoch changes the way we think about Shakespeare's theatrical legacy and nineteenth-century popular culture. His lively and wide-ranging book will appeal to scholars and students of Shakespeare in performance, theatre history and Victorian studies.
Author: Lynne Bradley Publisher: Routledge ISBN: 1317185439 Category : Literary Criticism Languages : en Pages : 305
Book Description
Questioning whether the impulse to adapt Shakespeare has changed over time, Lynne Bradley argues for restoring a sense of historicity to the study of adaptation. Bradley compares Nahum Tate's History of King Lear (1681), adaptations by David Garrick in the mid-eighteenth century, and nineteenth-century Shakespeare burlesques to twentieth-century theatrical rewritings of King Lear, and suggests latter-day adaptations should be viewed as a unique genre that allows playwrights to express modern subject positions with regard to their literary heritage while also participating in broader debates about art and society. In identifying and relocating different adaptive gestures within this historical framework, Bradley explores the link between the critical and the creative in the history of Shakespearean adaptation. Focusing on works such as Gordon Bottomley's King Lear's Wife (1913), Edward Bond's Lear (1971), Howard Barker's Seven Lears (1989), and the Women's Theatre Group's Lear's Daughters (1987), Bradley theorizes that modern rewritings of Shakespeare constitute a new type of textual interaction based on a simultaneous double-gesture of collaboration and rejection. She suggests that this new interaction provides constituent groups, such as the feminist collective who wrote Lear's Daughters, a strategy to acknowledge their debt to Shakespeare while writing against the traditional and negative representations of femininity they see reflected in his plays.
Author: Richard Schoch
Author: Richard Schoch
Author: William Makepeace Thackeray
Author: Laura Monros-Gaspar
Author: Richard W. Schoch
Author: William Makepeace Thackeray
Author: Rachel Bryant Davies
Author: John Poole
Author: Stanley Wells
Author: 
Author: Lynne Bradley