The French Revolution and the London Stage, 1789-1805

By George Taylor | Go to book overview

Notes

INTRODUCTION
1
The English became aware of balloon flight with the first cross-channel flight on 7 january 1785; Maurice Quinlan, 'Balloons and the Awareness of a New Age', Studies in Burke and his Times, 14.3 (1973), pp. 221–38.
2
Charles Dickens, Hard Times (London, 1854; Oxford, 1955), p. 66 and P- 272.
3
In the 1720s and 1730s Fielding, following Gay, had ridiculed Italian opera as the progeny of Queen Nonsense, but by 1760 to prefer either Italian or English opera was a matter of personal taste not ideological conflict; see Eric Walter White, History of English Opéra (London, 1983), pp. 151–2.
4
E. P. Thompson, Customs and Practices (London, 1991) and The Making of the English Working Class (Harmondsworth, 1968 edn).
5
J. Steven Watson, The Reign of George (Cambridge, 1960), p. 327.
6
See Edward Said, Orientalism (Harmondsworth, 1955 edn).
7
Emmet Kennedy, Marie-Laurence Netter, James P. McGregor and Mark V. Olsen, Théâtre, Opéra, and Audiences in Revolutionary Paris (Westport, Conn., 1996), chapter 1, 'History of the Problem'. A similar conclusion is reached by Michele Root-Bernstein, Boulevard Theater and Revolution in Eighteenth-Century Paris (Ann Arbor, Michigan, 1984), p. 240.
8
Kennedy et ai, Théâtre, Opéra, and Audiences, p. 27.
9
Charles Bell, The Anatomy and Philosophy of Expression (London, 1806).
10
Henry Siddons, Practical Illustrations of Rhetorical Gesture and Action, from J. J. Engel (London, 1807: reprint New York, 1969).
11
Marc Baer, Théâtre and Disorder in Late Georgian London (Oxford, 1992).
12
Catherine Gallagher, 'Marxism and New Historicism', The Mew Historicism, ed. H. Aram Veeser (London, 1989), pp. 37–48.
13
Stephen Greenblatt, 'Resonance and Wonder', Literary Theory Today, ed. P. Collier and H. Geyer-Ryan (Cambridge, 1990), pp. 74–9.
14
Raymond Williams, 'Dominant, Residual, and Emergent', Marxism and Literature (Oxford, 1977), pp. 121–7.
15
Joseph Roach, The Player's Passion: Studies in the Science of Acting (Newark, Del., 1985); Bruce McConachie, Melodramatic Formulations: American Théâtre and Society, 1820–1870 (Iowa, 1992). For their respective theoretical

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The French Revolution and the London Stage, 1789-1805
Table of contents

Table of contents

  • Title Page *
  • Contents vii
  • Acknowledgements viii
  • Note on the Text x
  • Introduction 1
  • Chapter 1 - England and France in 1789 15
  • Chapter 2 - The Revolution 42
  • Chapter 3 - From the Federation to the Terror 68
  • Chapter 4 - Dramatising (the) Terror 97
  • Chapter 5 - Performance and Performing 127
  • Chapter 6 - The Shadow of Napoleon 156
  • Chapter 7 - Theatre and Alienation 188
  • Reflections Towards a Conclusion 220
  • Notes 226
  • Bibliography 249
  • Index 257
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