Author: Thomas ShadwellPublisher:
ISBN:
Category :
Languages : en
Pages : 504
Book Description
The Works of Thomas Shadwell, Esq
Author: Thomas ShadwellThe dramatick works of Thomas Shadwell
Author: Thomas ShadwellPublisher:
ISBN:
Category : English drama
Languages : en
Pages : 396
Book Description
The Virtuoso
Author: Thomas ShadwellPublisher: U of Nebraska Press
ISBN: 9780803253681
Category : Drama
Languages : en
Pages : 186
Book Description
First published in 1676, The Virtuoso set a standard for theatrical satire. It was the most extensive dramatic treatment of modern science since Jonson's The Alchemist and took as its target no less than the Royal Society of London. Shadwell's barbs hit their targets often and cleanly. In 1689 he became Poet Laureate of England, a position he held until his death in 1692. The virtuoso of the title is Sir Nicholas Gimcrack, who like many after him confuses the extent of a collection with the depth of a science. Sir Gimcrack is fascinated by the geography of the moon, the worlds in his microscope, and the possibilities of human flight. More seriously and?for Shadwell's audience?more comically, his obsession with his arrays of worms and spiders proceeds at the expense of his wife and two beautiful nieces. The play also introduces Sir Formal Trifle, a pedantic ciceronian orator and coxcomb. His character established thereafter the theatrical type of the know-it-all blowhard. Famous for its wit and high-speed changes, The Virtuoso is also a display of the prestige of modern science and the pomposity of its ameteurs.
The Complete Works of Thomas Shadwell
Author: Thomas ShadwellThomas Shadwell's Bury-Fair
Author: John C. RossPublisher: Routledge
ISBN: 042957505X
Category : Literary Criticism
Languages : en
Pages : 174
Book Description
First published in 1995, Ross provides a critical edition of Thomas Shadwell’s Bury Fair.
The Sullen Lovers, Etc
Author: Thomas ShadwellThe Jeffersons at Shadwell
Author: Susan KernPublisher: Yale University Press
ISBN: 0300155700
Category : Biography & Autobiography
Languages : en
Pages : 381
Book Description
Merging archaeology, material culture, and social history, historian Susan Kern reveals the fascinating story of Shadwell, the birthplace of Thomas Jefferson and home to his parents, Jane and Peter Jefferson, their eight children, and over sixty slaves. Located in present-day Albemarle County, Virginia, Shadwell was at the time considered "the frontier." However, Kerndemonstrates thatShadwell was no crude log cabin; it was, in fact, a well-appointed gentry house full of fashionable goods, located at the center of a substantial plantation.Kern’s scholarship offers new views of the family’s role in settling Virginia as well as new perspectives on Thomas Jefferson himself. By examining a variety ofsources,including account books, diaries, and letters, Kern re-creates in rich detail the dailylives of the Jeffersons at Shadwell—from Jane Jefferson’s cultivation of a learned and cultured household to Peter Jefferson’s extensive business network and oversight of a thriving plantation.Shadwell was Thomas Jefferson’s patrimony, but Kern asserts that his real legacy there came from his parents, who cultivated the strong social connections that would later open doors for their children. At Shadwell, Jefferson learned the importance of fostering relationships with slaves, laborers, and powerful office holders, as well as the hierarchical structure of large plantations, which he later applied at Monticello. The story of Shadwell affects how we interpret much of what we know about Thomas Jefferson today, and Kern’s fascinating book is sure to become the standard work on Jefferson's early years.
Mac Flecknoe..
Author: John DrydenThe Complete Works of Thomas Shadwell: The amorous bigotte. The scowrers. The volunteers. Poems, etc. Letters
Author: Thomas ShadwellPublisher:
ISBN:
Category : English literature
Languages : en
Pages : 472
Book Description
Sir William Davenant, the Court Masque, and the English Seventeenth-century Scenic Stage, C. 1605-c. 1700
Author: Dawn LewcockPublisher: Cambria Press
ISBN: 1604975784
Category : Drama
Languages : en
Pages : 370
Book Description
This book examines why, when, how and where the scenic stage began in England. Little has been written about the development of theatrical scenery and how it was used in England in the seventeenth century, and what is known about the response to this innovation is fragmentary and uncertain. Unlike in Italy and France where scenery had been in use since the sixteenth century, the general public in England did not see plays presented against a painted location until Sir William Davenant presented The Siege of Rhodes at Lincoln's Inn Fields in 1661. Painted landscapes or seascapes, perspective views of cities or palaces, lighting effects, gods or goddesses flying down on to the stage in a chariot, all these had only been seen before on the masque stage at court or in the occasional private play performance. This study argues that Sir William Davenant (1606-1668) was involved almost from the beginning of the process and that his influence continued after his death; that, although painted scenery as such would undoubtedly have appeared on the public stage after 1660, it would not have been in the same way, for Davenant made particular positive contributions which brought about certain changes in both the presentation and reception of plays which would not have happened as they did without his work and influence. This is new work which uses dramaturgical and scenographical analysis of selected plays and masques, against known theatrical history, to discover how the staging of painted settings was organised from c1605 to c1700. This kind of investigation into the links between masque staging and the staging of plays has not been done in quite this way before. The study begins with Davenant's involvement with Inigo Jones and John Webb. It analyses the staging of the court masques and discusses what Davenant took from this and how he used the information. It suggests that the move towards verisimilitude in the drama on the scenic stage was due in part to Davenant's imaginative use of certain of the physical components of masque staging in presentations by the Duke's Company. It argues that he encouraged dramatists to integrate the scenery into their plots, particularly to provide for disclosures and discoveries, in ways not possible before. How, in so doing, he implicitly changed the stage conventions of time and place which audiences had accepted from the platform stage. It also argues that the parallel development of operatic spectacle derived mainly from the use by Killgrew and the King's Company of the techniques for engineering the spectacular effects of the transformation scenes of the masque stage to embellish the heroic drama by Dryden and others. It suggests that the two staging methods combined in the later seventeenth century to give more sophisticated ways of using the scenery and thus involved the scenic stage with the dialogue and the action in all genres, but that such experimentation ended when financial and commercial considerations made it no longer viable. Nevertheless it concludes that, by the eighteenth century, theatre practitioners had learnt to use the stage craft and mechanical techniques of the masque stage to integrate the visual with the aural aspects of a production, and that dramatists, once concerned solely with the aural expression of their theme, had become playwrights who allowed for the visual elements in their texts. Over fifty illustrations exemplify the discussion. This is an important book in the history of theatre, essential background for the staging of the court masque, and for the scenography of the Restoration theatre.