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Journal Cover Theatre Notebook
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   Full-text available via subscription Subscription journal
     ISSN (Print) 0040-5523 - ISSN (Online) 2051-8358
     Published by Project MUSE Homepage  [361 journals]   [SJR: 0.101]   [H-I: 2]
  • Theatres of Opposition: Empire, Revolution and Richard Brinsley Sheridan
           by David Francis Taylor
    • Abstract: <p>By Susan Valladares</p> Richard Brinsley Sheridan, in his triple and intersecting capacities as parliamentarian, playwright and theatre manager, is the charismatic subject of Theatres of Opposition – a study of the “complex overlap of theatrical and parliamentary-political cultures towards the end of the eighteenth century” (2). Driven by the revisionist aim to recover “the simultaneity and interconnectedness of theatrical practice and political action” (6), Taylor’s methodology is impressively interdisciplinary, drawing upon literary, political, theatrical and art histories.The book opens with Sheridan’s response to the American War of Independence, offering readings of The Rivals, The School for Scandal, The Critic and the less ... <a href="http://muse.jhu.edu/journals/theatre_notebook/v068/68.1.valladares.html">Read More</a>
      Keywords: Sheridan, Richard Brinsley,
      PubDate: 2014-06-22T00:00:00-05:00
       
  • A Timber Idol: Mr Punch in Scotland by Martin MacGilp
    • Abstract: <p>By Chris Abbot</p> In this fascinating account of the development of Punch and Judy in Scotland, Martin MacGilp has deftly avoided the ongoing disputes about the origins of Mr Punch in England. The first performance of Punch was probably by an itinerant Italian performer, but in Scotland this is thought to be Francesco Cardoni, rather than Giovanni Piccini, the usual candidate in England. Part of a larger project tracing the history of puppet theatre in Scotland, this is a wellresearched, engaging and thoughtful work which is copiously illustrated with fascinating pictures of puppets taken from contemporary images or held in museum collections. The material is arranged, for the most part, chronologically and the narrative throughout ... <a href="http://muse.jhu.edu/journals/theatre_notebook/v068/68.1.abbot.html">Read More</a>
      PubDate: 2014-06-22T00:00:00-05:00
       
  • Shakespeare in the Eighteenth Century by Peter Sabor and Fiona Ritchie
           (eds.)
    • Abstract: <p>By Susan Valladares</p> By the eighteenth century, Shakespeare was popular not only on stage, but in print, music and the visual arts. The sixteen essays collected in this volume aim to uncover “how Shakespeare was available to eighteenth-century society, what he meant to the period, and what opportunities he offered the eighteenth century for self-expression” (1). In the first section this entails an exploration of the editing and publication of Shakespeare (both real and forged) which investigates: the increasing professionalization of Shakespearean scholarship and its indebtedness to the methods of biblical and classical studies; the figure of the genius as it came to be associated with Shakespeare; the ways in which contemporary ... <a href="http://muse.jhu.edu/journals/theatre_notebook/v068/68.1.valladares01.html">Read More</a>
      Keywords: Shakespeare, William,
      PubDate: 2014-06-22T00:00:00-05:00
       
  • David Myerscough-Jones, Benjamin Britten and the Art of Illusion: Theatre
           Design for Television
    • Abstract: <p>By Nicholas Clark</p> Creating scenery for the operas of Benjamin Britten (1913-76) was both a testing and rewarding occupation. One of the photographs held in the archive of the Britten-Pears Foundation reveals the composer and producer Eric Crozier in 1945 scrutinizing one of four set models by the artist Kenneth Green (1905-86) for the first production of Peter Grimes. This telling image attests to Britten’s interest in the preliminary detail of, and frequently strong opinion on, the design of his stage work. John Piper (1903-92), who designed Britten’s The Rape of Lucretia in 1946 and continued to work with him until 1973, admitted that he was often called upon to provide an idea of how a series of scenes might look to create some ... <a href="http://muse.jhu.edu/journals/theatre_notebook/v068/68.1.clark.html">Read More</a>
      Keywords: Opera
      PubDate: 2014-06-22T00:00:00-05:00
       
  • William Poel’s 1927 Production of Samuel Rowley’s When You
           See Me, You Know Me1
    • Abstract: <p>By Joanna Howe</p> On Sunday 10 July 1927, Samuel Rowley’s chronicle history play When You See Me, You Know Me was revived at the Holborn Empire in London under the auspices of William Poel’s Elizabethan Stage Circle. First performed by Prince Henry’s Men at the Fortune Theatre in 1604, Rowley’s When You See Me boldly dramatized key events in the reign of King Henry VIII only months after the death of his daughter, Queen Elizabeth I, in March 1603.2 In particular, the play focuses on the birth and upbringing of the young Prince Edward, aspects of his father’s foreign policy, and the religious upheaval that has come to characterize the final period of King Henry’s reign. These more serious episodes in the play are complemented by ... <a href="http://muse.jhu.edu/journals/theatre_notebook/v068/68.1.howe.html">Read More</a>
      Keywords: Theater
      PubDate: 2014-06-22T00:00:00-05:00
       
  • Springthorpe: Waxworks, Views, Concerts, Marionettes
    • Abstract: <p>By Martin MacGilp</p> Waxwork exhibitions have been around since the eighteenth century (Warner 18), and although waxworks are generally “static” exhibitions, I would suggest that there is more than a little of the theatrical about them. The public moves around the rooms of a waxwork exhibition looking at the various representations of monarchs, politicians and criminals – this surely fits into a view of “theatre”, as the public must suspend their disbelief to consider the representations before them. Great skill goes into the creation of lifelike figures with convincing eyes and veins, and the waxwork must look as if it is about to breathe. Yet in the manner of being viewed, such a waxwork is not entirely akin to the work of the ... <a href="http://muse.jhu.edu/journals/theatre_notebook/v068/68.1.macgilp.html">Read More</a>
      Keywords: Waxworks
      PubDate: 2014-06-22T00:00:00-05:00
       
 
 
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