Editorial

By Mayer, David | Nineteenth Century Theatre and Film, Summer 2002 | Go to article overview

Editorial


Mayer, David, Nineteenth Century Theatre and Film


When, in 1972, I was appointed to the Drama Department at Manchester University and it was learned by members of that institution's English Department that I had been engaged to teach undergraduates and postgraduates in nineteenth century theatre, members of that department determined on a pre-emptive intimidatory strike. I was invited to the English Department and confronted with the extensive and admittedly impressive schedule of reading for its Victorian Literature course. Listed for the students' reading were numerous novels, poems, essays. At the bottom of the list was this stern admonition: "As for the drama of this period, it is best ignored". Nineteenth century drama, students were being advised, was an area to shun.

Against this would-be embargo, consider our roll-call.

Richard Abel, Charles Affron, Robert C. Allen, Sally Alexander, Richard Altick, Rick Altman, Gillian Anderson, Barry Anthony, William Appleton, Geoffrey Ashton, Nina Auerbach, Marc Baer, Peter Bailey, Michael Baker, Christopher Balme, Martin Banham, Rosemarie Bank, Barbara Barker, Clive Barker, Kathleen Barker, Daniel Barrett, Susan Bassnett, Christopher Baugh, David Beasley, Dave Berry, Ivo Blom, Michael Booth, Cobi Bordewijk, Eileen Bowser, Neil Brand, Jacky Bratton, Anne-Kathrin Braun, Marta Braun, Ben Brewster, Peter Brooks, Richard Brown, Kevin Brownlow, Jane Bryan, Gilli Bush-Bailey, Francesca Byrne . . .

In the thirty years since I met my English Department colleagues, much has happened to our subject. In 1972, we were an embattled and largely ignored few. We could - and occasionally did - fit comfortably around a small table: Hannah Winter, Arthur Saxon, Joe Donohue, Michael Booth, Brooks McNamara, Don Wilmeth, Richard Findlater, Anthony Hippisley-Coxe, and I. At our table's head sat George Rowell, our acknowledged leader, our urbane savant and pathfinder. About George Rowell, more follows below. We were isolated from colleagues working in Music. Film Studies was represented by Nicholas Vardac, Dance by Ann and Ivor Guest.

Charlotte Canning, Philip Carli, Carol Carlisle, Marvin Carlson, Susan Carlson, Alexandra Carton, Denis Castle, Richard Allen Cave, David Cheshire, Ian Christie, Gay Gibson Cima, F. Theodore Cloak, Stephen Cockett, Dale Cockrell, Leonard Conolly, Lorraine Commeret, Barbara Cooper, Jeffrey Cox, Thomas Crochunis, Maura Cronin, Gilbert Cross, Hugh Cunningham, Scott Curtis, Frances Dann, Robertson Davies, Jim Davis, Peter Davis, Tracy Davis, Leslie Midkiff DeBauche, Massimiliano Demata, Andrea Stulman Dennett, Bryony Dixon, Ellen Donkin, Joseph Donohue, Alan Downer, Victoria Duckett. . .

How that has changed, and how much that change needs to be recognised by our readers! The 270-plus names listed in this editorial are some - only some, but not all - of the scholars who have materially changed the nature and reputation and vitality of our subject. Many of these people have contributed impressive and important studies which have illuminated and made essential study of complex theatrical, musical, dance, and cinematic activity and have materially contributed to our current understandings of theatre historiography. In some crucial instances, their work in the 19th Century has had the further effect of forcing a reconsideration and reevaluation of large elements of the Restoration and 18th Century stage previously marginalised or dismissively ignored by earlier generations of theatre historians. I'm proud to call every one of these many scholars "colleague"; I'm delighted that many have become personal friends. Although several decades younger than I, my coeditor Viv Gardner acknowledges this sense of collegiality and friendship.

John Earl, Jill Edmonds, Thomas Elsaesser, Sos Eltis, Victor Emeljanow, Bertrand Evans, Inga-Stina Ewbank, Richard Fawkes, Ann Featherstone, John Fell, Richard Findlater, Judith Fisher, Raymund FitzSimon, Linda Fitzsimmons, Frances Fleetwood, Tony Fletcher, Richard Fotheringham, Richard Foulkes, James Fowler, Beth Friedman-Romell, John Frick, John Fullerton, Viv Gardner, Andre Gaudreault, David Gill, Joe Ging, Victor Glasstone, Christine Gledhill, George Glenn, Vera Gottlieb, Frank Gray, Peter Greenhalgh, Breandan Gregory, Lee Grieveson, David Grimsted, Ann Hutchison Guest, Ivor Guest, Tom Gunning. …

The rest of this article is only available to active members of Questia

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

Editorial
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.