Download e-book for iPad: A History of English Drama 1660-1900: Volume 4, Early by Allardyce Nicoll

By Allardyce Nicoll

ISBN-10: 0521058309

ISBN-13: 9780521058308

Allardyce Nicoll's background of English Drama, 1660-1900 was once a tremendous scholarly fulfillment and the paintings of 1 guy. Nicoll's background, which tells the tale of English drama from the reopening of the theatres on the time of the recovery all the way through to the top of the Victorian interval, used to be considered by way of Notes and Queries (1952) as 'a nice paintings of exploration, an in depth consultant to the untrodden acres of our dramatic background, hitherto principally missed as barren and with out interest'. The heritage is reissued in seven paperback volumes, to be had individually and as a suite. In volumes 1-5 Nicoll describes the stipulations of the level, actors and bosses in addition to dramatic genres. The 6th and 7th volumes provide a accomplished checklist of the entire performs recognized to were produced or revealed in England among 1660 and 1930, with their authors and replacement titles; it has hence self reliant price in addition to delivering an index to the sooner volumes.

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Extra info for A History of English Drama 1660-1900: Volume 4, Early Nineteenth Century Drama 1800-1850

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The note regarding this wonderful 'fl1mfv1a2 has led us somewhat away from the subject of costume, but its obvious insistence on naturalism may serve to emphasise the importance of studying, in the realm of stage dress, that movement which accompanied archreological precision. If this historical accuracy had a considerable influence on tragedy ana melodrama, comedy unquestionably was guided and admonished by the simpler naturalistic effects. Comedy in general has and had nothing to do with costumes of the past, and the gradual adoption of un­ exaggerated garments d la mode had probably as great an influence as had the other in the tragic sphere.

The absurdity was too great to be endured ; and there was a burst of censure from all parts of the house . . A loud cry for the manager succeeded, when the first tragedian of his day, Mr Kemble, appeared to supplicate that the child might be allowed . • • . 1 pp. 156-8. 22 T H E T H EATRE to finish the play; the audience, however, were inexorable ; the part of Miss Peggy was transferred to a young lady, whose age corresponded with the character, and Miss Mudie was with­ drawn. The audience perhaps acted rightly in this instance, but it is important to observe that it had been the rapturous adoration of Betty on the part of this very same audience which induced Kemble to put Miss Mudie on the stage.

The wings representing woods, are pushed on to the flat of a chambre, and so vice versa . 4• Some illuminated boats are introduced at the close of the Opera, which came down the stage. We could not but smile at the invention-they display astonishing mechanical powers-The painted canvases intended to represent the waves, have the . . . 1 G. C. D. Odell in his Shakespeare from Betterton to Irving has sections on the staging of this period, and something is said of it in my Development of the Theatre (1927).

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A History of English Drama 1660-1900: Volume 4, Early Nineteenth Century Drama 1800-1850 by Allardyce Nicoll

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