Are you looking for read ebook online? Search for your book and save it on your Kindle device, PC, phones or tablets. Download The Theater (1720) PDF full book. Access full book title The Theater (1720) by John Sir Falstaffe. Download full books in PDF and EPUB format.
Author: John Sir Falstaffe Publisher: Good Press ISBN: Category : History Languages : en Pages : 56
Book Description
"The Theater (1720)" by Sir John Falstaffe is a continuation of Richard Steele's magazine of the same name. Shortly after Steele stopped printing his paper, Falstaffe took over the publication. This text was published a mere four days after the original ceased operations and was released twice a week for a little over a month before it was also closed down.
Author: John Sir Falstaffe Publisher: Good Press ISBN: Category : History Languages : en Pages : 56
Book Description
"The Theater (1720)" by Sir John Falstaffe is a continuation of Richard Steele's magazine of the same name. Shortly after Steele stopped printing his paper, Falstaffe took over the publication. This text was published a mere four days after the original ceased operations and was released twice a week for a little over a month before it was also closed down.
Author: Leo Hughes Publisher: University of Texas Press ISBN: 0292748027 Category : Performing Arts Languages : en Pages : 220
Book Description
The drama's laws, the drama's patrons give, For we that live to please, must please to live. —Samuel Johnson, 1747 Democratic ferment, responsible for political explosions in the seventeenth century and expanded power in the eighteenth, affected all phases of English life. The theatre reflected these forces in the content of the plays of the period and in an increased awareness among playgoers that the theatre "must please to live." Drawing from a wealth of amusing and informative contemporary accounts, Leo Hughes presents abundant evidence that the theatre-going public proved zealous, and sometimes even unruly, in asserting its role and rights. He describes numerous species of individual pest—the box-lobby saunterers, the vizard masks (ladies of uncertain virtue), the catcallers, and the weeping sentimentalists. Protest demonstrations of various interest groups, such as footmen asserting their rights to sit in the upper gallery, reflect the behavior of the audience as a whole—an audience that Alexander Pope described as "the manyheaded monster of the pit." Hughes analyzes the changes in the audience's taste through the long span from Dryden's day to Sheridan's. He illustrates the decline in taste from the sophisticated, if bawdy, comedy of the Restoration Period to the sentimentalism and empty show of later decades. He attributes the increased emphasis on sentiment and spectacle to audience influence and describes the effects of audience demands on managers, playwrights, and players. He describes in detail the mixed assembly that frequented the theatre during this period and the greatly enlarged theatres that were built to accommodate it. Hughes concludes that it was the English people's basic love of liberty that allowed them to accept audience disruptions considered intolerable by foreign visitors and that the drama's patrons greatly influenced the quality of theatrical production during this long period.
Author: S. Douglas Olson Publisher: Walter de Gruyter ISBN: 161451125X Category : History Languages : en Pages : 1098
Book Description
This wide-ranging collection, consisting of 50 essays by leading international scholars in a variety of fields, provides an overview of the reception history of a major literary genre from Greco-Roman antiquity to the present day. Section I considers how the 5th- and 4th-century Athenian comic poets defined themselves and their plays, especially in relation to other major literary forms. It then moves on to the Roman world and to the reception of Greek comedy there in art and literature. Section II deals with the European reception of Greek and Roman comedy in the Medieval, Renaissance, and Early Modern periods, and with the European stage tradition of comic theater more generally. Section III treats the handling of Greco-Roman comedy in the modern world, with attention not just to literary translations and stage-productions, but to more modern media such as radio and film. The collection will be of interest to students of ancient comedy as well as to all those concerned with how literary and theatrical traditions are passed on from one time and place to another, and adapted to meet local conditions and concerns.
Author: Al Coppola Publisher: Oxford University Press ISBN: 0190627263 Category : Literary Criticism Languages : en Pages : 281
Book Description
The first book-length study of the relationship between science and theater during the long eighteenth century in Britain, The Theater of Experiment explores the crucial role of spectacle in the establishment of modern science by analyzing how eighteenth-century science was "staged" in a double sense. On the one hand, this study analyzes science in performance: the way that science and scientists were made a public spectacle in comedies, farces, and pantomimes for purposes that could range from the satiric to the pedagogic to the hagiographic. But this book also considers the way in which these plays laid bare science as performance: that is, the way that eighteenth-century science was itself a kind of performing art, subject to regimes of stagecraft that traversed the laboratory, the lecture hall, the anatomy theater, and the public stage. Not only did the representation of natural philosophy in eighteenth-century plays like Thomas Shadwell's Virtuoso, Aphra Behn's The Emperor of the Moon, Susanna Centlivre's The Basset Table, and John Rich's Necromancer, or Harelequin Doctor Faustus, influence contemporary debates over the role that experimental science was to play public life, the theater shaped the very form that science itself was to take. By disciplining, and ultimately helping to legitimate, experimental philosophy, the eighteenth-century stage helped to naturalize an epistemology based on self-evident, decontextualized facts that might speak for themselves. In this, the stage and the lab jointly fostered an Enlightenment culture of spectacle that transformed the conditions necessary for the production and dissemination of scientific knowledge. Precisely because Enlightenment public science initiatives, taking their cue from the public stages, came to embrace the stagecraft and spectacle that Restoration natural philosophy sought to repress from the scene of experimental knowledge production, eighteenth-century science organized itself around not the sober, masculine "modest witness" of experiment but the sentimental, feminized, eager observer of scientific performance.
Author: John Sir Falstaffe
Author: John Sir Falstaffe
Author: Leo Hughes![Bibliotheca Histrionica. A catalogue of the theatrical and miscellaneous library of Mr. J. Field ... which will be sold by auction, etc. [With the prices in MS.] PDF](https://books.google.com/books/content/images/frontcover/a3tZAAAAcAAJ?fife=w80-h100)
Author: John FIELD (Collector of Dramatic Literature.)
Author: Bodleian Library
Author: Charles Henry Timperley
Author: Allen A. Brown Collection (Boston Public Library)
Author: Charles Henry Timperley
Author: S. Douglas Olson
Author: John Field (dramatic collector.)
Author: Al Coppola