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Short description/annotation
The history of the British stage retold from a different perspective.
Main description
Over the last two hundred years some important ways of understanding theatre history have been undervalued or ignored by scholars. Leading theatre historian Jacky Bratton employs new approaches to examine and challenge this development and to discover how theatre history has been chronicled and how it is interpreted. Using a series of case studies from nineteenth-century British theatre, Bratton examines the difference between the existence of 'the drama' (plays and play literature) and 'the stage' (performance, theatre building, and attendance). By rejecting literary history, Bratton experiments with other ways of analysing the past, and the ways that have actually seemed relevant to the people on stage. This book suggests new histories: of theatrical story-telling, of performing families, and of the disregarded dramatic energy of Victorian entertainment. As a result, we gain a new perspective on theatre history, not only for the Romantic and Victorian periods, but for the discipline overall.
Table of contents:
Acknowledgements; Part I. Background: 1. Theatre history today; 2. British theatre history: 1708-1832; 3. Theatre in London in 1832: a new overview; 4. Theatre history and reform; 5. Part II. Case Studies: 5. Anecdote and mimicry as history; 6. Theatre history and the discourse of the popular; 7. Claiming kin: an experiment in genealogical research; Notes; Index.
The history of the British stage retold from a different perspective.
Main description
Over the last two hundred years some important ways of understanding theatre history have been undervalued or ignored by scholars. Leading theatre historian Jacky Bratton employs new approaches to examine and challenge this development and to discover how theatre history has been chronicled and how it is interpreted. Using a series of case studies from nineteenth-century British theatre, Bratton examines the difference between the existence of 'the drama' (plays and play literature) and 'the stage' (performance, theatre building, and attendance). By rejecting literary history, Bratton experiments with other ways of analysing the past, and the ways that have actually seemed relevant to the people on stage. This book suggests new histories: of theatrical story-telling, of performing families, and of the disregarded dramatic energy of Victorian entertainment. As a result, we gain a new perspective on theatre history, not only for the Romantic and Victorian periods, but for the discipline overall.
Table of contents:
Acknowledgements; Part I. Background: 1. Theatre history today; 2. British theatre history: 1708-1832; 3. Theatre in London in 1832: a new overview; 4. Theatre history and reform; 5. Part II. Case Studies: 5. Anecdote and mimicry as history; 6. Theatre history and the discourse of the popular; 7. Claiming kin: an experiment in genealogical research; Notes; Index.