Prologues, Epilogues, Curtain-raisers, and Afterpieces: The Rest of the Eighteenth-century London StageDaniel James Ennis, Judith Bailey Slagle University of Delaware Press, 2007 - 263 páginas Prologues, Epilogues, Curtain-Raisers, and Afterpieces: The Rest of the Eighteenth-Century London Stage presents a fresh analysis of the complete theater evening that was available to playhouse audiences from the Restoration to the early nineteenth century. The contributing scholars focus not on the mainpiece, the advertised play itself, but on what surrounded the mainpiece for the total theater experience of the day. Various critical essays address artistic disciplines such as dance and theatrical portraits, while others concentrate on peripheral performance texts, including prologues, epilogues, pantomimes, and afterpieces, that merged to define the overall theatrical event. |
Índice
| 9 | |
| 10 | |
| 21 | |
Paul McCallum | 33 |
Theatrical Paintings from | 70 |
EighteenthCentury London | 106 |
Fieldings Afterpieces as Satyr Plays | 119 |
Performing Shakespearean | 135 |
Tragic Play Bawdy Epilogue? | 155 |
Lady Fashions Rout | 198 |
Richard Brinsley Sheridan | 214 |
The Novelistic Aesthetic of Matthew | 238 |
Notes on Contributors | 253 |
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Palavras e frases frequentes
according actors actresses aesthetic afterpiece appears argues audience Ballet bawdy British Camp Captive Carbondale century character Charles claims collection comedy comic costume critical cultural dance described discussion drama dress Dryden earlier early edited effect eighteenth Eighteenth-Century England English essay example fashionable female Fielding figure final French Garrick genre George Haywood History Ibid important introduction Invasion John Lady late later Lewis's literary London Stage Love March means moral nature notes novel offer original Oxford painting pantomime performance perhaps period piece play playwrights poet political popular portrait present production prologues and epilogues representation Restoration rhetorical Richard Robert role Royal satire scene seems sense sexual Shakespeare Sheridan social society speaker spectacle Spectator Studies suggests theater theatrical tragedy University Press Women writers York
Passagens conhecidas
Página 39 - Another's diving bow he did adore, Which with a shog casts all the hair before, Till he, with full decorum, brings it back, And rises...
Página 214 - This England never did, (nor never shall,) Lie at the proud foot of a conqueror, But when it first did help to wound itself. Now these her princes are come home again, Come the three corners of the world in arms, And we shall shock them : Nought shall make us rue, If England to itself do rest but true.
Página 215 - Therefore we must regard the next week or so as a very important period in our history. It ranks with the days when the Spanish Armada was approaching the Channel, and Drake was fmishing his game of bowls; or when Nelson stood between us and Napoleon's Grand Army at Boulogne.
Página 135 - He was the man who of all modern, and perhaps ancient poets, had the largest and most comprehensive soul. All the images of nature were still present to him, and he drew them not laboriously, but luckily : when he describes anything, you more than see it, you feel it too.
Página 145 - Shakespeare, who (taught by none) did first impart To Fletcher Wit, to labouring Jonson Art. He Monarch-like gave those his subjects law, And is that Nature which they paint and draw.
Página 251 - ANG. Heavens! The very words which Alice - The door too! - It moves! it opens! - Guard me, good Angels! (The folding-doors unclose, and the Oratory is seen illuminated. In its centre stands a tall female figure, her white and flowing garments spotted with blood; her veil is thrown back, and discovers a pale and melancholy countenance; her eyes are lifted upwards, her arms extended towards heaven, and a large wound appears upon her bosom. Angela sinks upon her knees, with her eyes riveted upon the...
Página 119 - And here I congratulate my Cotemporary Writers, for their having enlarged the Sphere of Tragedy: The ancient Tragedy seems to have had only two Effects on an Audience, viz. It either awakened Terror and Compassion, or composed those and all other uneasy Sensations, by lulling the Audience in an agreeable Slumber. But to provoke the Mirth and Laughter of the Spectators, to join the Sock to the Buskin, is a Praise only due to Modern Tragedy.
Página 58 - Commonwealth prefer, Where each small Wit starts up and claims his share ; And all those Laurels are in pieces torn, Which did e'er while one sacred Head adorn. Nay, even the Women now pretend to reign ; Defend...
Página 144 - Magick could not copy'd be, Within that Circle none durst walk but he. I must confess 'twas bold, nor would you now, That liberty to vulgar Wits allow, Which works by Magick supernatural things : But Shakespeare's pow'r is sacred as a King's.
Página 141 - It is therefore my part to make it clear, that the language, wit, and conversation of our age, are improved and refined above the last ; and then it will not be difficult to infer, that our plays have received some part of those advantages.