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.

Nearly all residents of England and its colonies between 1860 and 1914 were active theatergoers, and many participated in the amateur theatricals that defined late Victorian life. The Victorian theater was not an abstract figuration of the world as a stage, but a media system enmeshed in mass lived experience that fulfilled in actuality the concept of a theatergoing nation. Everyone’s Theater turns to local history, the words of everyday Victorians found in their diaries and production records, to recover this lost chapter of theater history in which amateur drama domesticates the stage. Professional actors and playwrights struggled to make their productions compatible with ideas and techniques that could be safely reproduced in the home—and in amateur performances from Canada to India. This became the first true English national theater: a society whose myriad classes found common ground in theatrical display. Everyone’s Theater provides new ways to extend Victorian literature into the dimension of voice, sound, and embodiment, and to appreciate the pleasures of Victorian theatricality.

Why and how Asian characters have been represented by non-Asian actorson stage and screen

A captivating study of the plays, literature and writings about private and public theatrical spectacle during the Victorian Age By the 1890s the British theatre had transformed itself into a world where spectacles and public shows were aimed at the widest audience possible. The theatre had become big business. This anthology brings together a variety of plays and prose which sets this phenomenon in perspective and traces the development of Victorian theatricals from private home events in the late-Georgian period to full-scale Gilbert and Sullivan operettas in the 1890s. The section 'Theatrical Behaviour' looks at the world of the audience and includes extracts from Jane Austen's novel Mansfield Park; Thackeray's Vanity Fair; an anonymous playlet called Acting Proverbs; and an extract from Marie Corelli's novel Sorrows of Satan. In 'Fun and Freaks' we explore the world of popular, sensationalist entertainment through the eyes of Dickens, Thomas Hardy, Dion Boucicault and others. In the final section, 'Society', we have the scripts for four principal melodramas and serious plays of the age: The Factory Lad by John Walker; Society by T.W. Robertson; The Mikado by W.S. Gilbert and The Second Mrs Tanqueray by Arthur Wing Pinero.

American national trade bibliography.

An Illustrated History of British Theatre and Performance chronicles the history and development of theatre from the Roman era to the present day. As the most public of arts, theatre constantly interacted with changing social, political and intellectual movements and ideas, and Robert Leach’s masterful work restores to the foreground of this evolution the contributions of women, gay people and ethnic minorities, as well as the theatres of the English regions, and of Wales and Scotland. Highly illustrated chapters trace the development of theatre through major plays from each period; evaluations of playwrights; contemporary dramatic theory; acting and acting companies; dance and music; the theatre buildings themselves; and the audience, while also highlighting enduring features of British theatre, from comic gags to the use of props. Continuing on from the Enlightenment, Volume Two of An Illustrated History of British Theatre and Performance leads its readers from the drama and performances of the Industrial Revolution to the latest digital theatre. Moving from Punch and Judy, castle spectres and penny showmen to Modernism and Postdramatic Theatre, Leach’s second volume triumphantly completes a collated account of all the British Theatre History knowledge anyone could ever need.

This is the first bibliography in its field, based on first-hand collations of the actual articles. International in scope, it includes publications found in public theatre libraries and archives of Barcelona, Berlin, Brussels, Budapest, Florence, London, Milan, New York and Paris amongst others. Over 3500 detailed entries on separately published sources such as books, sales and exhibition catalogues and pamphlets provide an indispensible guide for theatre students, practitioners and historians. Indices cover designers, productions, actors and performers. The iconography provides an indexed record of over 6000 printed plates of performers in role, illustrating performance costume from the 18th to 20th century.