Restoration and Eighteenth-Century Theatre Research最新文献

{"title":"Masque and Opera in England, 1656–1688","authors":"J. Winn","doi":"10.5325/rectr.31.1.0115","DOIUrl":"https://doi.org/10.5325/rectr.31.1.0115","url":null,"abstract":"","PeriodicalId":366404,"journal":{"name":"Restoration and Eighteenth-Century Theatre Research","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125141047","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Eighteenth-Century Drama: Censorship, Society, and the Stage","authors":"T. Howe","doi":"10.5325/rectr.31.1.0133","DOIUrl":"https://doi.org/10.5325/rectr.31.1.0133","url":null,"abstract":"","PeriodicalId":366404,"journal":{"name":"Restoration and Eighteenth-Century Theatre Research","volume":"495 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132416631","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Staging History, 1780-1840","authors":"Timothy E. Keenan","doi":"10.5325/rectr.31.1.0119","DOIUrl":"https://doi.org/10.5325/rectr.31.1.0119","url":null,"abstract":"","PeriodicalId":366404,"journal":{"name":"Restoration and Eighteenth-Century Theatre Research","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132494305","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"“Write as I bid you”: Eruptive Baroque Aesthetics in Wycherley’s The Country Wife","authors":"Royce Best","doi":"10.5325/rectr.31.1.0039","DOIUrl":"https://doi.org/10.5325/rectr.31.1.0039","url":null,"abstract":"\u0000 This article argues that J. Douglas Canfield’s idea that baroque characteristics “persisted” in neoclassical literature can do more than just mark moments of exuberant rhetoric and imagery in Restoration texts. Rather, combining scholarship on the baroque by Peter Davidson and Walter Benjamin with Restoration studies reveals that the baroque is an underappreciated feature of Restoration drama that erupts from its neoclassicism and emblematizes aristocratic ideology about the constructed social, economic, and political order of the Restoration. Taking stock of specific historical issues negotiated by Charles II’s regime, therefore, provides the inventory of meanings a baroque eruption signals. Mr. Pinchwife’s surprising and violent threat to his wife Margery in The Country Wife is the article’s primary example. Allusions to Shakespeare’s Othello and the Whore of Babylon from the book of Revelation are revealed to be couched in Pinchwife’s outburst; they demand an allegorical reading in light of contemporary ideology about noblemen and anti-Catholicism.","PeriodicalId":366404,"journal":{"name":"Restoration and Eighteenth-Century Theatre Research","volume":"260 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123361048","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Opera Libretti of the Eighteenth Century: Essays on the Libretto as Enlightenment Text","authors":"Yvonne Noble","doi":"10.5325/rectr.30.1-2.0169","DOIUrl":"https://doi.org/10.5325/rectr.30.1-2.0169","url":null,"abstract":"","PeriodicalId":366404,"journal":{"name":"Restoration and Eighteenth-Century Theatre Research","volume":"52 1-2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127691981","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"“Be Mine in Politics”: Charlotte Corday and Anti-Union Allegory in Matthew West’s Female Heroism, A Tragedy in Five Acts (1803)","authors":"S. Burdett","doi":"10.5325/rectr.30.1-2.0089","DOIUrl":"https://doi.org/10.5325/rectr.30.1-2.0089","url":null,"abstract":"\u0000 This essay draws attention to Irish playwright Matthew West’s rarely studied drama Female Heroism, A Tragedy in Five Acts (1803), performed at the Crow Street Theatre, Dublin, in 1804. The tragedy dramatizes republican woman Charlotte Corday’s murder of Jacobin leader Jean-Paul Marat, committed in July 1793. My paper contends that West’s tragedy blends an explicitly anti-Jacobin narrative, with a covertly embedded strain of Irish oppositional politics. Focusing centrally on West’s incorporation of a fabricated rape scene, which alludes strongly to contemporary allegories of the Act of Union, I hypothesize the possibility for Female Heroism to be interpreted by its Dublin theatre audience as a subtle rebuke of the union, which positions Corday as the personification of Irish independence, and Marat as the unlikely embodiment of tyrannical British rule.","PeriodicalId":366404,"journal":{"name":"Restoration and Eighteenth-Century Theatre Research","volume":"92 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127053979","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Nancy Dawson, Her Hornpipe and Her Posthumous Reputation","authors":"Olive Baldwin, Thelma Wilson","doi":"10.5325/rectr.30.1-2.0055","DOIUrl":"https://doi.org/10.5325/rectr.30.1-2.0055","url":null,"abstract":"\u0000 Nancy Dawson was famous for dancing the hornpipe during her short career on the London stage (1756-63). The tune to which she danced was quickly named after her and became popular as a ballad tune. After her death, “Nancy Dawson” was used as a name for race horses and boats and the tune took on a life of its own, while the dancer was forgotten. During her stage career she had been slandered in so-called Genuine Memoirs (quickly pirated as Authentic Memoirs) and attacked in satires over her liaison with the comic actor Edward Shuter. However, the tune’s popularity with sailors and a set of bawdy words made to it in the early nineteenth century led to her acquiring a reputation of being little more than a common prostitute. This paper attempts to sift fact from fiction about her life and character and considers errors and omissions in her entries in the Biography Dictionary of Actors and the Oxford Dictionary of National Biography.","PeriodicalId":366404,"journal":{"name":"Restoration and Eighteenth-Century Theatre Research","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130018966","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Inventing the Spectator: Subjectivity and the Theatrical Experience in Early Modern France","authors":"Logan J. Connors","doi":"10.5325/rectr.30.1-2.0171","DOIUrl":"https://doi.org/10.5325/rectr.30.1-2.0171","url":null,"abstract":"Joseph Harris. Inventing the Spectator: Subjectivity and the Theatrical Experience in Early Modern France. Oxford University Press, 2014. 304 pp. $85.00 USD, £55 (hardback). ISBN 9780198701613.Inventing the Spectator by Joseph Harris is a lucid study of how early modern theorists conceptualized the spectator's experience with dramatic performances and literature. The author covers a wide range of drama theory in France from the first decades of the 1600s to the pre-Revolutionary period. By focusing on the relationships between subjectivity and theatre, Harris demonstrates that \"dramatic theory can offer privileged insight into the supposedly universal nature of human psychology\" (7). The author provides new insights into famous French theorists and dramatists (D'Aubignac, Corneille, Diderot, and Rousseau, for example) and brings to light the innovations of overlooked writers, such as Jean-Baptiste Dubos, Jean Chapelain, and Rene Rapin. Harris' writing is clear and refreshing; he helpfully guides the reader through complex arguments without jargon or repetition.Harris' book is perhaps the past decade's most exhaustive study of French dramatic theory for two reasons: first, he investigates dramatic theories from both \"classical\" and \"Enlightenment\" traditions, whereas most scholars separate the two (e.g., Georges Forestiers and John Lyons' recent work on the seventeenth century, or Pierre Frantz' and Scott Bryson's work on the eighteenth century); second, Harris examines both pro-theatrical (Corneille, Dubos, Diderot) and anti-theatrical (Pierre Nicole, Jacques-Benigne Bossuet, Bernard Lamy) conceptions of the spectating experience; most accounts of drama focus only on the former.Inventing the Spectator unfolds in eight chapters, several of which investigate the theories of specific writers, like D'Aubignac, Corneille, Dubos, Rousseau, and Diderot; other chapters discuss key emotional states of spectating, such as enthrallment, intellect, and identification. Despite the neat separation of ideas and authors in the table of contents, a few theoretical currents cut across most chapters. For example, Harris provides a particularly strong analysis of identification-a psycho-dramaturgical concept about which he has already published several articles. The author proves that identification is far more complex than mere \"shared feelings\" between the members of the audience and the characters on stage. Several authors indeed present identification in this basic schema (D'Aubignac, for example), however, as Harris proves, identification is far more variegated and complex in most dramatic theories at the time. Corneille, for example, undergirds his theory of identification in a set of a priori expectations by the spectator that are then met (or not) by the dramatist (96); while for Rousseau, theatrical identification is less a function of dramatic illusion on stage than of an \"ideology\" inherent to theatre and \"theatrical life\" (207).In his chapter on Diderot,","PeriodicalId":366404,"journal":{"name":"Restoration and Eighteenth-Century Theatre Research","volume":"126 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116412866","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Siege of Calais","authors":"J. Munns","doi":"10.5325/rectr.30.1-2.0133","DOIUrl":"https://doi.org/10.5325/rectr.30.1-2.0133","url":null,"abstract":"","PeriodicalId":366404,"journal":{"name":"Restoration and Eighteenth-Century Theatre Research","volume":"105 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127084498","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Shopping and Flirting: Staging the New Exchange in Seventeenth- and Eighteenth-Century Comedies","authors":"Timothy E. Keenan","doi":"10.5325/rectr.30.1-2.0031","DOIUrl":"https://doi.org/10.5325/rectr.30.1-2.0031","url":null,"abstract":"\u0000 In the mid to late seventeenth century the New Exchange shopping mall on the Strand was one of London’s most important social and commercial spaces. Its significance is reflected by the number of references to it in various contemporary sources, including, prominently, Restoration comedies. There have been a number of modern studies of the building in relation to its architecture, commercial history, and cultural significance, but none examines how the building was represented theatrically. This essay corrects this omission by discussing all the plays that have scenes set in the New Exchange. Focusing on two of these—She Would If She Could (1668) by George Etherege and The Country Wife (1675) by William Wycherley—this essay considers dramaturgical approaches to the staging of real places in the period. In particular, it draws on period illustrations of the New Exchange and close theatrical readings of the plays to suggest correlations between the architectural structure of the building and its theatrical representation.","PeriodicalId":366404,"journal":{"name":"Restoration and Eighteenth-Century Theatre Research","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125322561","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}