Book contents
- The Cambridge Guide to the Worlds of Shakespeare
- Frontispiece
- Frontispiece
- The Cambridge Guide to the Worlds of Shakespeare
- Worlds of Shakespeare
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Abbreviations
- Part I Mapping Shakespeare’s World
- Part II Theater
- Part III Language
- Part IV Science and Technology
- Part V Printing, Publishing, Textuality
- Part VI Visual Arts
- Part VII Popular Culture
- Part VIII High Culture
- Part IX England, 1560–1650
- Part X Religion
- Part XI Medicine
- Part XII The Historical William Shakespeare
- Part XIII Shakespeare’s Fellows
- Part XIV Shakespeare’s Early Reception (to 1660)
- Part XV International Encounters
- Part XVI Making the Scene
- Part XVII Shakespeare as Cultural Icon
- Part XVIII Shakespeare and Popular Culture
- Part XIX Translation
- Part XX Changing Technologies of Stage Performance
- Part XXI Audiences
- Introduction
- 204 English-Speaking Audiences: Sixteenth and Seventeenth Centuries
- 205 English-Speaking Audiences: Restoration and Eighteenth Century
- 206 English-Speaking Audiences: Nineteenth Century
- 207 English-Speaking Audiences: Twentieth Century
- 208 Shakespeare for Soldiers and Seniors
- 209 Shakespearean Players in Early Modern Europe
- 210 Diversely Abled Audiences
- 211 Audiences at the Old Globe and the New
- Part XXII Production History
- Part XXIII Printing and Reception History
- Part XXIV Shakespeare and the Book
- Part XXV Shakespeare and the Critics
- Part XXVI Shakespeare and the Performing Arts
- Part XXVII Shakespeare and the Visual Arts
- Part XXVIII Shakespeare and Media History
- Index
- References
205 - English-Speaking Audiences: Restoration and Eighteenth Century
from Part XXI - Audiences
Published online by Cambridge University Press: 17 August 2019
Edited by
Edited in association with
Book contents
- The Cambridge Guide to the Worlds of Shakespeare
- Frontispiece
- Frontispiece
- The Cambridge Guide to the Worlds of Shakespeare
- Worlds of Shakespeare
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Abbreviations
- Part I Mapping Shakespeare’s World
- Part II Theater
- Part III Language
- Part IV Science and Technology
- Part V Printing, Publishing, Textuality
- Part VI Visual Arts
- Part VII Popular Culture
- Part VIII High Culture
- Part IX England, 1560–1650
- Part X Religion
- Part XI Medicine
- Part XII The Historical William Shakespeare
- Part XIII Shakespeare’s Fellows
- Part XIV Shakespeare’s Early Reception (to 1660)
- Part XV International Encounters
- Part XVI Making the Scene
- Part XVII Shakespeare as Cultural Icon
- Part XVIII Shakespeare and Popular Culture
- Part XIX Translation
- Part XX Changing Technologies of Stage Performance
- Part XXI Audiences
- Introduction
- 204 English-Speaking Audiences: Sixteenth and Seventeenth Centuries
- 205 English-Speaking Audiences: Restoration and Eighteenth Century
- 206 English-Speaking Audiences: Nineteenth Century
- 207 English-Speaking Audiences: Twentieth Century
- 208 Shakespeare for Soldiers and Seniors
- 209 Shakespearean Players in Early Modern Europe
- 210 Diversely Abled Audiences
- 211 Audiences at the Old Globe and the New
- Part XXII Production History
- Part XXIII Printing and Reception History
- Part XXIV Shakespeare and the Book
- Part XXV Shakespeare and the Critics
- Part XXVI Shakespeare and the Performing Arts
- Part XXVII Shakespeare and the Visual Arts
- Part XXVIII Shakespeare and Media History
- Index
- References
Summary
A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Keywords
actors in audienceaudienceaudience–actor interactionbenefit nightsCibber, SusannahCovent GardenDrury Laneeighteenth centuryfourth wallGarrick, Davidhalf-price admissionJewish Naturalization BillMacklin, CharlesThe Merchant of Venicepatent theatersprostitutesriotsseating backstageseating onstageShakespearean adaptationsShylockSiddons, Sarah1737 Theater Licensing Act
- Type
- Chapter
- Information
- The Cambridge Guide to the Worlds of Shakespeare , pp. 1500 - 1506Publisher: Cambridge University PressPrint publication year: 2016
References
Sources cited
Appleton, William Worthen. Charles Macklin: An Actor’s Life. Cambridge: Harvard UP, 1960.CrossRefGoogle Scholar
Boaden, James. Memoirs of the Life of John Philip Kemble, esq. Philadelphia: Robert H. Small, 1825.Google Scholar
Dobson, Michael. The Making of the National Poet: Shakespeare, Adaptation and Authorship, 1660–1769. Oxford: Clarendon, 1992.Google Scholar
Freeman, Lisa. Character’s Theater: Genre and Identity on the Eighteenth-Century English Stage. Philadelphia: U of Pennsylvania P, 2002.CrossRefGoogle Scholar
Freeman, Lisa. “Introduction.” Lives of Shakespearean Actors II. Vol. 2: Sarah Siddons. Ed. Freeman, Lisa. London: Pickering and Chatto, 2009. vii–xxiii.Google Scholar
Highfill, Philip H., Burnim, Kalman A., and Langhans, Edward A.. A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660–1800. 16 vols. Carbondale: Southern Illinois UP, 1975.Google Scholar
Hughes, Leo. The Drama’s Patrons: A Study of the Eighteenth-Century London Audience. Austin: U of Texas P, 1971.Google Scholar
Inchbald, Elizabeth. “To the Artist.” Nature and Art. Ed. Maurer, Shawn Lisa. Orchard Park: Broadview, 2005.Google Scholar
Learcroft, Richard. The Development of the English Playhouse. London: Eyre Methuen, 1973.Google Scholar
Marsden, Jean I. The Re-imagined Text: Shakespeare, Adaptation, and Eighteenth-Century Literary Theory. Lexington: UP of Kentucky, 1995.Google Scholar
Nussbaum, Felicity. Rival Queens: Actresses, Performance, and the Eighteenth-Century British Theater. Philadelphia: U of Pennsylvania P, 2010.CrossRefGoogle Scholar
Pedicord, Harry William. “The Changing Audience.” The London Theatre World, 1660–1800. Ed. Hume, Robert D.. Carbondale: Southern Illinois UP, 1980. 236–52.Google Scholar
Pedicord, Harry William. The Theatrical Public in the Time of Garrick. Carbondale: Southern Illinois UP, 1966.Google Scholar
Sabor, Peter, and Yachnin, Paul. “Introduction.” Shakespeare and the Eighteenth Century. Ed. Sabor, Peter and Yachnin, Paul. Hampshire: Ashgate, 2008. 1–9.Google Scholar
Sauter, Willmar. The Theatrical Event: Dynamics of Performance and Perception. Iowa City: U of Iowa P, 2000.Google Scholar
Scouten, Arthur. “The Increase in Popularity of Shakespeare’s Plays in the Eighteenth Century: A Caveat for Interpreters of Stage History.” Shakespeare Quarterly 7.2 (spring 1956): 189–202.CrossRefGoogle Scholar
Wilkinson, Tate. Memoirs of His Own Life. Vol. 4. York: Wilson, Spence, and Mawman, 1790.Google Scholar
Further reading
Davis, Tracy C., and Postlewait, Thomas. Theatricality. Cambridge: Cambridge University Press, 2003.Google Scholar
Holland, Peter. The Ornament of Action: Text and Performance in Restoration Comedy. Cambridge: Cambridge University Press, 1979.Google Scholar
Lannep, William Van, et al., eds. The London Stage, 1660–1800. 11 vols. Carbondale: Southern Illinois UP, 1960–68.Google Scholar
Peters, Julie Stone. Theatre of the Book, 1480–1880: Print, Text and Performance in Europe. Oxford: Oxford UP, 2000.Google Scholar
Straub, Kristina. Sexual Suspects: Eighteenth-Century Players and Sexual Ideology. Princeton: Princeton UP, 1991.Google Scholar
Styan, J. L. The English Stage: A History of Drama and Performance. Cambridge: Cambridge University Press, 1996.Google Scholar
Weimann, Robert. Shakespeare and the Popular Tradition in the Theater: Studies in the Social Dimension of Dramatic Form and Function. Ed. Schwartz, Robert. Baltimore: Johns Hopkins UP, 1987.Google Scholar