Format:
1 Online-Ressource (ix, 233 pages)
,
Illustrationen
ISBN:
9783031137105
,
3031137108
Content:
Intro -- Acknowledgments -- Contents -- Chapter 1: Introduction: The Age of the Actor -- Chapter 2: The Progress of British Romantic Drama: A Brief Tour -- The Characteristics of Romantic Drama -- Drama of the Borderlands -- Enacting Romantic Drama -- The Rise of Melodrama -- The Murder of Romantic Drama -- Chapter 3: Summoning Siddons: Joanna Baillie's Play for the Stage -- Passionate Playwriting -- Siddons's Celebrity Image Making -- Sarah Siddons as Jane De Monfort -- Closeted (Mis)interpretations -- Chapter 4: Remorse and a Certain Glover: Coleridge's Unapologetic Dramatics
Content:
The Search for the New Siddons -- Revising Remorse -- Julia Betterton Glover -- Determining the Dramatic -- Embodying Revolution -- Chapter 5: Kean for the Stage: Byron's Self-Fashioning in Manfred -- Kean and Byron -- Bertram's Use of Kean (and Kean's Use of Bertram) -- Creating Manfred -- Becoming Manfred -- Chapter 6: Succeeding Siddons: Shelley's Unsung Muse -- Embodying Romanticism -- Inspiring Shelley -- Shelley's Sea Change -- The Importance of Fazio -- Critical Resistance -- Chapter 7: Conclusion: The Long Shadow -- Bibliography -- Index
Content:
This book reinterprets British dramas of the early-nineteenth century through the lens of the star actors for whom they were written. Unlike most playwrights of previous generations, the writers of British Romantic dramas generally did not work in the theatre themselves. However, they closely followed the careers of star performers. Even when they did not directly know actors, they had what media theorists have dubbed "para-social interactions" with those stars, interacting with them through the mediation of mass communication, whether as audience members, newspaper and memoir readers, or consumers of prints, porcelain miniatures, and other manifestations of "fan" culture. This study takes an in-depth look at four pairs of performers and playwrights: Sarah Siddons and Joanna Baillie, Julia Glover and Samuel Taylor Coleridge, Edmund Kean and Lord Byron, and Eliza O'Neill and Percy Bysshe Shelley. These charismatic performers, knowingly or not, helped to guide the development of a character-based theatrefrom the emotion-dominated plays made popular by Baillie to the pinnacle of Romantic drama under Shelley. They shepherded in a new style of writing that had verbal sophistication and engaged meaningfully with the moral issues of the day. They helped to create not just new modes of acting, but new ways of writing that could make use of their extraordinary talents. James Armstrong is an adjunct assistant professor at City College of the City University of New York, USA. He has contributed articles to European Stages, Theatre Notebook, Romard, Shaw, Keats-Shelley Journal, and Dickens Quarterly, and has reviewed books and performances for The Edgar Allan Poe Review, The Dickensian, Theatre Journal, The Shavian, and Performance, Religion, and Spirituality. He is also a playwright and member of the Dramatists Guild of America
Note:
Includes bibliographical references and index
Additional Edition:
ISBN 3031137094
Additional Edition:
ISBN 9783031137099
Additional Edition:
Erscheint auch als Druck-Ausgabe ISBN 3031137094
Additional Edition:
ISBN 9783031137099
Language:
English
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