William D Howarth sets Le Mariage de Figaro and Beaumarchais's other dramatic works in the broad historical context of pre-revolutionary France, providing a unique and authoritative study of the dramatist and his plays. He presents detailed analyses of the plays themselves, discussing their critical receptions, their influence on drama of the period and their legacy. Included is a discussion of the operatic adaptations: Mozart's Mariage de Figaro and Rossini's Le Barbier de Seville. The author also provides analyses of sketches and fragments only recently re-discovered. Beaumarchais and the Theatre is a comprehensive and much needed study of one of the most significant playwrights of the turbulent eighteenth century. It is invaluable reading for students of theatre history.

William D Howarth sets Le Mariage de Figaro and Beaumarchais's other dramatic works in the broad historical context of pre-revolutionary France, providing a unique and authoritative study of the dramatist and his plays. He presents detailed analyses of the plays themselves, discussing their critical receptions, their influence on drama of the period and their legacy. Included is a discussion of the operatic adaptations: Mozart's Mariage de Figaro and Rossini's Le Barbier de Seville. The author also provides analyses of sketches and fragments only recently re-discovered. Beaumarchais and the Theatre is a comprehensive and much needed study of one of the most significant playwrights of the turbulent eighteenth century. It is invaluable reading for students of theatre history.

In Eugenia, the title character is a Welsh girl of good birth who believes herself to be married to a wealthy young Earl. In fact, the Earl has deliberately misled her and knowingly had arranged a fraudulent wedding ceremony; their union is invalid, but Eugenia is already pregnant, and the Earl is only days away from a legitimate marriage to another woman. Even Eugenia does not know his secret, but with his new wedding fast approaching, he cannot keep his shameful behavior hidden much longer. Will he give in to his true love for Eugenia and save her from a life of indignity, or will he follow the wishes of others and marry according to his own family's demands? Duels, disownments and near-death experiences abound in this famous play of the 18th century.The play Eugénie (as it's called in French) premiered in Paris in 1767 and had "acquired acclaim for itself before it had even graced the stage." It was the first feature play of author Pierre-Augustin Caron de Beaumarchais, who already was well known for his literary accomplishments; he'd gotten his start arguing his rights to a patent through publicly published letters, and had made a splash internationally with his account of his adventures in Spain while he was attempting to force an unfaithful lover of his sister's to do right by her; this story was adapted into a play in his own lifetime, by none other than Johann Wolfgang von Goethe. Beaumarchais had written some theater as well, but prior to Eugénie all of his scripts had either been rejected by the theaters, or else were simple one-act comedies (parades) intended for performance at private functions. Eugénie was his first serious play, but it was a success. The genre is known now as drame bourgeois, and was seen at the time as a halfway point between comedy and tragedy. William Howarth, in this book Beaumarchais and the Theater, indicates that the playwright had originally set his story in Brittany, and developed the English setting at a later point for uncertain reasons - perhaps to play off the mood of fashionable sentimental English stories such as those by Samuel Richardson, which were extremely popular at the time. The new setting did, however, create some problems: as Englishwoman Elizabeth Griffiths wrote in the introduction to her contemporary adaptation The School for Rakes, she found Beaumarchais had "unluckily adopted Spanish manners" for his English characters and did not demonstrate a familiarity with local laws and customs, and in her case she realized the troubles caused by the cultural mismatch to be so numerous that she had to resort to merely adapting the play rather than translating. To my knowledge, this book which you hold in your hands is the first ever direct English translation of Eugénie to have seen print. After the initial premier, Eugénie was extremely well-received, and even moreso after Beaumarchais made some cuts to the play's copious running time (which changes were reflected in the printed editions.) It found itself being one of the first plays known to be performed in New Orleans in the French colony of Louisiana, and early printings of The Barber of Seville were always certain to announce on the title page that the play was "from the author of Eugénie."

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The Barber of Seville * The Marriage of Figaro * The Guilty Mother Eighteenth-century France produced only one truly international theatre star, Beaumarchais, and only one name, Figaro, to put with Don Quixote or D'Artagnan in the ranks of popular myth. But who was Figaro? Not the impertinent valet of the operas of Mozart or Rossini, but both the spirit of resistance to oppression and a bourgeois individualist like his creator. The three plays in which he plots and schemes chronicle the slide of the ancien régime into revolution but also chart the growth of Beaumarchais' humanitarianism. They are also exuberant theatrical entertainments, masterpieces of skill, invention, and social satire which helped shape the direction of French theatre for a hundred years. This lively new translation catches all the zest and energy of the most famous valet in French literature. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Inspired by Voltaire’s advice that a text needs to be concise to have real influence, this anthology contains fiery extracts by forty eighteenth-century authors, from the most famous philosophers of the age to those whose brilliant writings are less well-known. These passages are immensely diverse in style and topic, but all have in common a passionate commitment to equality, freedom, and tolerance. Each text resonates powerfully with the issues our world faces today. Tolerance was first published by the Société française d’étude du dix-huitième siècle (the French Society for Eighteenth-Century Studies) in the wake of the Charlie Hebdo assassinations in January 2015 as an act of solidarity and as a response to the surge of interest in Enlightenment values. With the support of the British Society for Eighteenth-Century Studies, it has now been translated by over 100 students and tutors of French at Oxford University.

From before history was recorded to the present day, theatre has been a major artistic form around the world. From puppetry to mimes and street theatre, this complex art has utilized all other art forms such as dance, literature, music, painting, sculpture, and architecture. Every aspect of human activity and human culture can be, and has been, incorporated into the creation of theatre. In this Very Short Introduction Marvin Carlson takes us through Ancient Greece and Rome, to Medieval Japan and Europe, to America and beyond, and looks at how the various forms of theatre have been interpreted and enjoyed. Exploring the role that theatre artists play — from the actor and director to the designer and puppet-master, as well as the audience — this is an engaging exploration of what theatre has meant, and still means, to people of all ages at all times. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

Beginning with Aristotle and the Greeks and ending with semiotics and post-structuralism, Theories of the Theatre is the first comprehensive survey of Western dramatic theory. In this expanded edition the author has updated the book and added a new concluding chapter that focuses on theoretical developments since 1980, emphasizing the impact of feminist theory.