By Kerry Powell
This better half is designed for readers drawn to the construction, construction and interpretation of Victorian and Edwardian theater. An creation surveying the ancient interval of the theater is by means of an essay contextualizing it in the tradition as a complete. Succeeding chapters research functionality and creation, (including song, actors, stagecraft and audience), performs and playwriting and problems with classification and gender. sorts of performances (such as comedy, farce, melodrama) and the economics of the theater also are analyzed.
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This better half is designed for readers attracted to the construction, creation and interpretation of Victorian and Edwardian theater. An creation surveying the old interval of the theater is by means of an essay contextualizing it in the tradition as an entire. Succeeding chapters research functionality and creation, (including song, actors, stagecraft and audience), performs and playwriting and problems with category and gender.
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Extra info for The Cambridge Companion to Victorian and Edwardian Theatre (Cambridge Companions to Literature)
29. Carol Jones Carlisle, Helen Faucit: Fire and Ice on the Victorian Stage (London: Society for Theatre Research, 2000), pp. 69, 82–83. 30. Robert Speaight, William Poel and the Elizabethan Revival (London: William Heinemann, 1954). 31. See Edward Gordon Craig, The Art of the Theatre (London: Heinemann, 1911); Christopher Innes, Edward Gordon Craig (Cambridge: Cambridge University Press, 1983); and Ir`ene Eynat-Conﬁno, Beyond the Mask: Gordon Craig, Movement, and the Actor (Carbondale, IL: Southern Illinois University Press, 1987).
The Bodley Head Bernard Shaw: Collected Plays with Their Prefaces, ed. Dan H. Laurence, 7 vols. (London: Max Reinhardt, Bodley Head, 1970), i : p. 381. 2. See Shaw’s introduction to Three Plays by Brieux (New York: Brentano’s, 1911), pp. vii–liv. 3. George Bernard Shaw, The Quintessence of Ibsenism, in J. L. ), Shaw and Ibsen: Bernard Shaw’s “The Quintessence of Ibsenism” and Related Writings (Toronto: University of Toronto Press, 1979), pp. 218, 219. 4. Martin Meisel, Shaw and the Nineteenth Century Theater (Princeton, NJ: Princeton University Press, 1963), pp.
He became rich by pleasing homo economicus, but what does history care about that? When in pursuit of proﬁts, rational man, it seems, behaves very differently from how theatre historians would prefer. Even Henry Irving, a darling of historians, who for two decades spent lavishly on productions and brought the Lyceum Theatre to international fame for hosting his singular artistic vision in popular renderings of legitimate dramas, was not helped much by the variety of homo economicus indigenous to London.