Reprint of the original, first published in 1871. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.
The stage of the 1700s established a star culture, with the emergence of such acting celebrities as David Garrick, Susannah Cibber, and Sarah Siddons. It placed Shakespeare at the heart of the classical repertoire and offered unprecedented opportunities to female actors. This book demonstrates how an understanding of the practice and theories circulating three hundred years ago can generate new ways of studying and performing plays of all kinds in the present. Eight short essays – on emotions, cultivation, character, voice, action, company, audience, and reflection – provide two things: a vivid introduction to the practice and ideas of the eighteenth-century stage, and the story of how these past practices and ideas were used in collaborative workshops around the UK to create new rehearsal exercises. Designed to work alone or in combination, these exercises are also open to further adaptation and analysis as part of a work that treats theatre writers of the past as potential collaborators for those interested in theatre today. Marrying academic and professional theatre expertise, this book ranges through a vast archive of writing about acting, from private letters and battered promptbooks, through to philosophical treatises and celebrity biographies. The exercises, stories, and ideas shared here capture the strangeness of this material – and sometimes its surprising familiarity, as questions asked of actors then seem to anticipate those questions we ask now. A truly unique offering, What would Garrick Do? Or, Acting Lessons from the Eighteenth Century offers a fascinating deep-dive into an important time in theatre history to illuminate practices and processes today.
A genealogical dictionary of our early colonists. Every volume shows three generations of those who came before 1692. Although more than a century has elapsed since the publication of this monumental work, it remains the standard to our day. We do not mean that new information has not been unearthed or that the work is free from errors, but Savage had just the peculiar qualifications necessary. He was so persistent in gathering data and so conservative in his use of them, that a statement made on his authority bears great weight. This work has the whole of New England for its field. This is volume 1, covering the surnames A - C.
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 theatre—from 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.
When did celebrity culture begin? In the Regency period, when people hungered for news of the illegitimate actress who became a duchess and the richest woman in England; and the hard-drinking Regency buck who horse-whipped anyone who criticised his terrible novels.
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