David Garrick's accomplishments as an actor, manager, and theatrical innovator brought him great fame and fortune, and his ideas influenced not only his own age but succeeding ages as well. Yet as a playwright, a part of the elegant combination of talents that was David Garrick, he has never achieved the critical reputation he richly deserves, in main because of the unavailability of texts and the lack of proper assessment of the historic importance of his plays in the English theatre. This first complete edition makes available to scholars and students all the plays of Gar­rick in well edited texts, with commentary and notes. Contents: Alfred. A Masque (James Thomson and David Mallet), 1751; Every Man in His Humour. A Comedy (Ben Jonson), 1751; Zara. A Tragedy (Aaron Hill), 1754; The Chances. A Comedy (John Fletcher and George Villiers), 1754; and Rule a Wife and Have a Wife. A Comedy (Francis Beaumont and John Fletcher), 1756.

David Garrick's accomplishments as an actor, manager, and theatrical innovator brought him great fame and fortune, and his ideas influenced not only his own age but succeeding ages as well. Yet as a playwright, a part of the elegant combination of talents that was David Garrick, he has never achieved the critical reputation he richly deserves, in main because of the unavailability of texts and the lack of proper assessment of the historic importance of his plays in the English theatre. This first complete edition makes available to scholars and students all the plays of Gar­rick in well edited texts, with commentary and notes. Contents: The Rehearsal (George Villiers and Others), 1742; The Alchymist. A Comedy (Ben Jonson), 1743; The Provok'd Wife. A Comedy (John Vanbrugh), 1744; and The Roman Father. A Tragedy (William Whitehead), 1750.

David Garrick's accomplishments as an actor, manager, and theatrical innovator brought him great fame and fortune, and his ideas influenced not only his own age but succeeding ages as well. Yet as a playwright, a part of the elegant combination of talents that was David Garrick, he has never achieved the critical reputation he richly deserves, in main because of the unavailability of texts and the lack of proper assessment of the historic importance of his plays in the English theatre. This first complete edition makes available to scholars and students all the plays of Gar­rick in well edited texts, with commentary and notes. The two volumes of Garrick's own plays published together here include the twenty-two plays of the Garrick canon attributable to him. Garrick's claim to serious consideration as a playwright rests upon these plays, written between 1740 and 1775.They are not all mas­terpieces, but their inclusion here, arranged in chronological order, will enable the stage his­torian to assess Garrick's progress as a dramatist. Contents: Cymon. A Dramatic Romance, 1767; Linco's Travels. An Interlude, 1767; A Peep Behind the Curtain; or, The New Rehearsal, 1767; The Jubilee, 1769; The Institution of the Garter; or, Arthur's Roundtable Restored, 1771; The Irish Widow, 1772; A Christmas Tale. A New Dramatic Entertainment, 1773; The Meeting of the Com­pany; or, Bayes's Art of Acting, 1774; Bon Ton; or, High Life above Stairs, 1775; May-Day; or, The Little Gipsy, 1775; and The Theatrical Candidates, 1775.

David Garrick's accomplishments as an actor, manager, and theatrical innovator brought him great fame and fortune, and his ideas influenced not only his own age but succeeding ages as well. Yet as a playwright, a part of the elegant combination of talents that was David Garrick, he has never achieved the critical reputation he richly deserves, in main because of the unavailability of texts and the lack of proper assessment of the historic importance of his plays in the English theatre. This first complete edition makes available to scholars and students all the plays of Gar­rick in well edited texts, with commentary and notes. The two volumes of Garrick's own plays published together here include the twenty-two plays of the Garrick canon attributable to him. Garrick's claim to serious consideration as a playwright rests upon these plays, written between 1740 and 1775.They are not all mas­terpieces, but their inclusion here, arranged in chronological order, will enable the stage his­torian to assess Garrick's progress as a dramatist. Contents: Lethe; or, Esop in the Shades. A Dra­matic Satire, 1740; The Lying Valet, 1741; Miss in Her Teens; or, The Medley of Lovers. A Farce, 1747; Lilliputt. A Dramatic Entertainment, 1756; The Male-Coquette; or, Seventeen Hundred Fifty Seven, 1757; The Guardian. A Comedy, 1759; Harlequin's Invasion; or, A Christmas Gambol, 1759; The Enchanter; or, Love and Magic. A Musi­cal Drama, 1760; The Farmer's Return from Lon­don. An Interlude, 1762; The Clandestine Mar­riage. A Comedy, 1766; and Neck or Nothing. A Farce, 1766.

The Time of Joseph Haydn: From Sultan Mahmud I to Sultan Mahmud II (r.1730-1839), the second volume of Ottoman Empire and European Theatre, explores the relationship between Western playwrights, composers and visual artists of the eighteenth-century and Turkish-Ottoman culture, as well as the interest of Ottoman artists in European culture. Twenty-seven contributions by renowned experts shed light on the mutual influences that affected society and art for both Europeans and Ottomans. Successor to the first volume of the series, The Age of Mozart and Sultan Selim III (1756-1808), this book examines the compositions of Joseph Haydn (1732-1809) and his contemporaries along with events in the Ottoman political era during the time span from Sultan Mahmud I (b.1696, r.1730-1754) to Sultan Mahmud II (b.1785, r.1808-1839). Taking Haydn's Türkenopern ('Turkish operas') Lo speziale (1768) and L'incontro improvviso (1775) as the departure point, the articles collected in this publication reflect the growth of research in the area of cultural transfers between the Ottoman Empire and non-Ottoman Europe, as expressed in theatre, music and the visual arts. Contributions by: Emre Aracı, Annemarie Bönsch, Reinhard Buchberger, Bertrand Michael Buchmann, Necla Çıkıgil, Caryl Clark, Matthew Head, Caroline Herfert, Bent Holm, Michael Hüttler, Hans-Peter Kellner, Adam Mestyan, Isabelle Moindrot, Walter Puchner, Günsel Renda, Geoffrey Roper, Orlin Sabev, Çetın Sarıkartal, Käthe Springer-Dissmann, Suna Suner, Frances Trollope, Hans Ernst Weidinger, Daniel Winkler, Larry Wolff, Mehmet Alaaddin Yalçınkaya, Netice Yıldız, Clemens Zoidl.

On 3 May 1810 George Gordon, Lord Byron, swam like the mythic Leander from Sestos on the European side of the Hellespont to Abydos on the Asian shore. The hero of his poem "Don Juan" has lived in “feminine disguise” in the sultan's harem for more than a century. To commemorate Byron's Don Juan, the third volume of the "Ottoman Empire and European Theatre" series focuses on the image of the harem in literature and theatre. Nineteen international contributors explore historical conceptions of the Ottoman harem and seraglio in British, French and South East European sources from the late seventeenth to the nineteenth centuries. Contributions by Jennifer L. Airey, Gönül Bakay, Michael Chappell, Anne Greenfield, Isobel Grundy, Bent Holm, Michael Hüttler, Hans Peter Kellner, Emily M. N. Kugler, Andreas Münzmay, Domenica Newell-Amato, Walter Puchner, Marian Gilbart Read, Käthe Springer, Stefanie Steiner, Laura Tunbridge, Himmet Umunc, Hans Ernst Weidinger, Mi Zhou.

An analysis of acting and characterization on stage, covering theories of character from Aristotle to Brecht and approaches from formalism to post structuralism. The Early Theatre Group have, over the last 5 years, used an experimental approach to performing some of the plays written about here.

In contrast to each other, Volume 5 is a sociological portrait of mostly little people in their tragic and comic efforts to achieve fame on the London stage during the Restoration and eighteenth century, whereas Volume 6 is dom­inated by the glamour of David Gar­rick, Nell Gwyn, and Joseph Grimaldi, the celebrated clown. Some 250 por­traits individualize the great and small of the theatres of London.

The first collected edition of John Cleland's correspondence, this volume provides a rare insight into a significant literary life and into jobbing authorship in the eighteenth century. All known letters by and to Cleland are included entire, alongside letter excerpts, diary entries and documents in which he is discussed by friends, enemies, family members and distant acquaintances. The volume also includes Cleland's christening record, a manuscript essay composed by Cleland in French on 'Litterateurs', and the will of Cleland's mother Lucy, whose many codicils reveal her determination to prevent her profligate son from squandering her fortune. Interspersed throughout are telling remarks about Cleland from figures such as Alexander Pope, Samuel Foote, Claude-Pierre Patu, and, most revealing and intriguing of all, vignettes by the great biographer James Boswell. The volume makes several new attributions and demonstrates for the first time the extent of Cleland's participation in the European Enlightenment.

Explores how David Garrick - actor, newspaper proprietor and part-owner of Drury Lane Theatre - mediated his own celebrity.