Book contents
- The Cambridge Companion to English Melodrama
- The Cambridge Companion to English Melodrama
- Copyright page
- Dedication
- Contents
- Illustrations
- Contributors
- Acknowledgements
- A Note on Citations of Plays
- Chronology
- 1 Introduction
- I Histories of English Melodrama
- II Melodramatic Technique
- III Melodrama and Nineteenth-Century English Culture
- IV Extensions of Melodrama
- Guide to Further Reading
- Index
- Cambridge Companions to …
- References
Guide to Further Reading
Published online by Cambridge University Press: 06 October 2018
Edited by
Book contents
- The Cambridge Companion to English Melodrama
- The Cambridge Companion to English Melodrama
- Copyright page
- Dedication
- Contents
- Illustrations
- Contributors
- Acknowledgements
- A Note on Citations of Plays
- Chronology
- 1 Introduction
- I Histories of English Melodrama
- II Melodramatic Technique
- III Melodrama and Nineteenth-Century English Culture
- IV Extensions of Melodrama
- Guide to Further Reading
- Index
- Cambridge Companions to …
- 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.
- Type
- Chapter
- Information
- The Cambridge Companion to English Melodrama , pp. 305 - 315Publisher: Cambridge University PressPrint publication year: 2018
References
Primary Sources
Booth, Michael (ed.). English Plays of the Nineteenth Century Volume 1: Drama 1800–1850 and Volume 2: Drama 1850–1900. Oxford: Clarendon Press, 1969.Google Scholar
Booth, Michael (ed.). Hiss the Villain: Six English and American Melodramas. London: Eyre and Spottiswoode, 1964.Google Scholar
Booth, Michael (ed.). The Lights O’London and Other Plays. Oxford: Oxford University Press, 1995.Google Scholar
Booth, Michael (ed.). The Magistrate and Other Nineteenth-Century Plays. Oxford: Oxford University Press, 1974.Google Scholar
Cox, Jeffrey (ed.). Seven Gothic Dramas, 1789–1825. Athens: Ohio University Press, 1992.Google Scholar
Davis, Tracy C. (ed.). The Broadview Anthology of Nineteenth-Century British Performance. Peterborough: Broadview Press, 2012.Google Scholar
Franceschina, John (ed.). Sisters of Gore: Gothic Melodramas by British Women. New York: Routledge, 2000.Google Scholar
Rowell, George (ed.). Nineteenth Century Plays. Oxford: Oxford University Press, 1972.Google Scholar
Smith, James L. (ed.). Victorian Melodramas: Seven English, French and American Melodramas. London: J. M. Dent, 1976.Google Scholar
Wischusen, Stephen (ed.). The Hour of One: Six Gothic Melodramas. London: Gordon Fraser Gallery, 1975.Google Scholar
The Victorian Play Project. http://victorian.nuigalway.ie/modx/.Google Scholar
Secondary Sources
Andrin, Muriel, Gailly, Anne, and Nasta, Dominique (eds.). Le mélodrame filmique revisité / Revisiting Film Melodrama. Brussels: Peter Lang, 2014.Google Scholar
Archer, William. Masks or Faces? A Study in the Psychology of Acting. London: Longmans, 1888.Google Scholar
Astbury, Katherine. ‘Music in Pixérécourt’s Early Melodramas’. Melodramatic Voices: Understanding Music Drama. Ed. Hibberd, Sarah. Farnham: Ashgate, 2011. 15–26.Google Scholar
Aston, Elaine, and Clarke, Ian. ‘The Dangerous Woman of Melvillean Melodrama’. New Theatre Quarterly, 12 (1996). 30–42.Google Scholar
Backscheider, Paula. Spectacular Politics: Theatrical Power and Mass Culture in Early Modern England. Baltimore: Johns Hopkins University Press, 1993.Google Scholar
Baer, Marc. Theatre and Disorder in Late Georgian London. Oxford: Clarendon Press, 1992.Google Scholar
Barker, Clive. ‘The Audiences of the Britannia Theatre, Hoxton’. Theatre Quarterly, 9 (1979). 27–41.Google Scholar
Bartley, J. O. Teague, Shenkin and Sawney: Being an Historical Study of the Earliest Irish, Welsh and Scottish Characters in English Plays. Cork: Cork University Press, 1954.Google Scholar
Berlant, Lauren. The Female Complaint: The Unfinished Business of Sentimentality in American Culture. Durham: Duke University Press, 2008.Google Scholar
Block, Geoffrey. Enchanted Evenings: The Broadway Musical From Showboat to Sondheim and Lloyd Webber. Second edition. Oxford: Oxford University Press, 2009.Google Scholar
Boaden, James. Memoirs of the Life of John Philip Kemble. 2 vols. London: Longman, Hurst, Rees, Orme, Brown, and Green, 1825.Google Scholar
Booth, Michael. ‘A Defence of Nineteenth-century English Drama’. Educational Theatre Journal, 26 (1974). 5–13.Google Scholar
Booth, Michael. ‘New Technology in the Victorian Theatre’. Theatre Notebook, 46 (1992). 122–36.Google Scholar
Booth, Michael. ‘Soldiers of the Queen, Drury Lane Imperialism’. Melodrama: The Cultural Emergence of a Genre. Eds. Hays, Michael and Nikolopoulou, Anastasia. New York: St. Martin’s Press, 1996. 3–20.Google Scholar
Booth, Michael. Theatre in the Victorian Age. Cambridge: Cambridge University Press, 1991.Google Scholar
Booth, Michael. Victorian Spectacular Theatre 1850–1910. London: Routledge & Kegan Paul, 1981.Google Scholar
Bordwell, David. ‘Happily Ever After, Part II’. The Velvet Light Trap, 19 (1982). 2–7.Google Scholar
Bradby, David, James, Louis, and Sharratt, Bernard (eds.). Performance and Politics in Popular Drama: Aspects of Popular Entertainment in Theatre, Film and Television. Cambridge: Cambridge University Press, 1980.CrossRefGoogle Scholar
Bratton, Jacky. The Making of the West End Stage: Marriage, Management and the Mapping of Gender in London, 1830–1870. Cambridge: Cambridge University Press, 2011.Google Scholar
Bratton, Jacky. New Readings in Theatre History. Cambridge: Cambridge University Press, 2003.Google Scholar
Bratton, Jacky. ‘Romantic Melodrama’. The Cambridge Companion to British Theatre, 1730–1830. Ed. Moody, Jane and O’Quinn, Daniel. Cambridge: Cambridge University Press, 2007. 115–27.Google Scholar
Bratton, Jacky, Cook, Jim, and Gledhill, Christine (eds.). Melodrama: Stage, Picture, Screen. London: British Film Institute, 1994.Google Scholar
Bratton, Jacky, Cook, Jim, and Gledhill, Christine (eds.). ‘The Contending Discourses of Melodrama’. Melodrama: Stage, Picture, Screen. Eds. Bratton, Jacky, Cook, Jim, and Gledhill, Christine. London: British Film Institute, 1994. 11–24.Google Scholar
Bratton, J. S. ‘British Heroism and the Structure of Melodrama’. Acts of Supremacy: The British Empire and the Stage, 1790–1930. Manchester: Manchester University Press, 1991. 18–61.Google Scholar
Bratton, J. S., Cave, Richard Allen, Gregory, Breandan, Holder, Heidi J, and Pickering, Michael. Acts of Supremacy: The British Empire and the Stage, 1790–1930. Manchester: Manchester University Press, 1991.Google Scholar
Brewster, Benjamin, and Jacobs, Lea. Theatre to Cinema: Stage Pictorialism and the Early Feature Film. Oxford: Oxford University Press, 1997.Google Scholar
Briggs, Asa. ‘The Language of “Class” in Early Nineteenth Century England’. Essays in Labour History. Ed. Briggs, Asa and Saville, John. London: Macmillan, 1960. 43–73.Google Scholar
Brooks, Peter. The Melodramatic Imagination: Balzac, Henry James, Melodrama, and the Mode of Excess. Second edition. New Haven: Yale University Press, 1995 [1976].Google Scholar
Buckley, Matthew. ‘The Formation of Melodrama’. The Oxford Handbook to the Georgian Stage. Eds. Swindells, Julia and Taylor, David. Oxford: Oxford University Press, 2014.Google Scholar
Buckley, Matthew. ‘Refugee Theatre: Melodrama and Modernity’s Loss’. Theatre Journal, 61 (2009). 175–90.Google Scholar
Buckley, Matthew. ‘Sensations of Celebrity: Jack Sheppard and the Mass Audience’. Victorian Studies, 44 (2002). 423–63.Google Scholar
Buckley, Matthew. Tragedy Walks the Streets: The French Revolution in the Making of Modern Drama. Baltimore: Johns Hopkins University Press, 2006.Google Scholar
Burwick, Frederick. British Drama of the Industrial Revolution. Cambridge: Cambridge University Press, 2015.Google Scholar
Burwick, Frederick. Illusion and the Drama: Critical Theory of the Enlightenment and the Romantic Era. University Park: Pennsylvania State University Press, 2010.Google Scholar
Burwick, Frederick. Romantic Drama: Acting and Reacting. Cambridge: Cambridge University Press, 2009.Google Scholar
Cannadine, David. Class in Britain. New Haven and London: Yale University Press, 1998.Google Scholar
Clark, Anna. ‘The Politics of Seduction in English Popular Culture, 1748–1848’. The Progress of Romance: The Politics of Popular Fiction. Ed. Radford, Jean. London: Routledge and Kegan Paul, 1986.Google Scholar
Cockett, Stephen. ‘Acting with Music: Henry Irving’s Use of the Musical Score in His Production of The Bells’. Europe, Empire and Spectacle in Nineteenth-Century British Music. Eds. Cowgill, Rachel and Rushton, Julian. Aldershot: Ashgate Press, 2006. 235–48.Google Scholar
Cockrell, Dale. Demons of Disorder: Early Blackface Minstrels and their World. Cambridge: Cambridge University Press, 1997.Google Scholar
Cox, Jeffrey N. Romanticism in the Shadow of War: Literary Culture in the Napoleonic War Years. Cambridge: Cambridge University Press, 2014.CrossRefGoogle Scholar
Cox, Jeffrey N.. ‘The Ideological Tack of Nautical Melodrama’. Melodrama: The Cultural Emergence of a Genre. Eds. Hays, Michael and Nikolopoulou, Anastasia. New York: St. Martin’s Press, 1996. 167–90.Google Scholar
Crone, Rosalind. Violent Victorians: Popular Entertainment in Nineteenth-Century London. Manchester: Manchester University Press, 2012.Google Scholar
Cross, Gilbert B. Next Week – East Lynne: Domestic Drama in Performance, 1820–1874. Lewisburg: Bucknell University Press, 1977.Google Scholar
Davis, Jim. Comic Acting and Portraiture in Late-Georgian and Regency England. Cambridge: Cambridge University Press, 2015.CrossRefGoogle Scholar
Davis, Jim. ‘Melodrama On and Off the Stage’. The Oxford Handbook of Victorian Literary Culture. Ed. John, Juliet. Oxford: Oxford University Press, 2014. 686–701.CrossRefGoogle Scholar
Davis, Jim. ‘The Empire Right or Wrong: Boer War Melodrama on the Australian Stage, 1899-1901’. Melodrama: The Cultural Emergence of a Genre. Eds. Hays, Michael and Nikolopoulou, Anastasia. New York: St. Martin’s Press, 1996. 21–37.Google Scholar
Davis, Jim. (ed.). The Britannia Diaries 1863–75: Selections from the Diaries of Frederick C. Wilton. London: Society for Theatre Research, 1992.Google Scholar
Davis, Jim. ‘The Gospel of Rags: Melodrama at the Britannia, 1863–74’, New Theatre Quarterly, 7 (1991). 369–89.Google Scholar
Davis, Jim. ‘British Bravery or Tars Triumphant’. New Theatre Quarterly, 4 (1988). 122–43.Google Scholar
Davis, Jim, and Emeljanow, Victor. Reflecting the Audience: London Theatregoing, 1840–1880. Iowa City: University of Iowa Press, 2001.Google Scholar
Davis, Tracy C. Actresses as Working Women: Their Social Identity in Victorian Culture. London and New York: Routledge, 1991.Google Scholar
Davis, Tracy C.(ed.). The Broadview Anthology of Nineteenth-Century British Performance. Peterborough: Broadview Press, 2012.Google Scholar
Davis, Tracy C. The Economics of the British Stage, 1800–1914. Cambridge: Cambridge University Press, 2000.Google Scholar
Davis, Tracy C., and Holland, Peter (eds.). The Performing Century: Nineteenth-Century Theatre’s History. New York: Palgrave Macmillan, 2007.CrossRefGoogle Scholar
Davis, Tracy C., and Postlethwaite, Thomas (eds.). Theatricality. Cambridge: Cambridge University Press, 2003.Google Scholar
Davis, Tracy C., and Donkin, Ellen (eds.). Women and Playwriting in Nineteenth-Century Britain. Cambridge: Cambridge University Press, 1999.Google Scholar
Decker, Todd. Show Boat: Performing Race in an American Musical. Oxford: Oxford University Press, 2013.Google Scholar
DeLong, Kenneth. ‘Arthur Sullivan’s Incidental Music to Henry Irving’s Production of Macbeth (1888)’. Henry Irving: A Re-Evaluation of the Pre-eminent Victorian Actor-Manager. Ed. Foulkes, Richard. Burlington: Ashgate Publishing, 2008. 149–84.Google Scholar
Diamond, Michael. Victorian Sensation: Or, the Spectacular, the Shocking and the Scandalous in Nineteenth-Century Britain. London: Anthem Press, 2003.Google Scholar
Diderot, Denis. The Paradox of Acting. Trans. Walter Herries Pollock. London: Chatto and Windus, 1883.Google Scholar
Disher, Maurice Willson. Blood and Thunder: Mid-Victorian Melodrama and Its Origins. London: Muller, 1949.Google Scholar
Donohue, Joseph (ed.). The Cambridge History of British Theatre, Volume 2: 1660 to 1895. Cambridge: Cambridge University Press, 2004.CrossRefGoogle Scholar
Duckett, Victoria. Seeing Sarah Bernhardt: Performance and Silent Film. Urbana: University of Illinois Press, 2015.CrossRefGoogle Scholar
Eisenstein, Sergei. ‘Dickens, Griffith, and the Film Today’. Film Form. New York: Harcourt, Brace, 1949.Google Scholar
Elsaesser, Thomas. ‘Tales of Sound and Fury: Observations on the Family Melodrama’. Home Is Where the Heart Is: Studies in Melodrama and the Woman’s Film. Ed. Gledhill, Christine. London: British Film Institute, 1987. 43–69.Google Scholar
Eltis, Sos. Acts of Desire: Women and Sex on Stage, 1800–1930. Oxford: Oxford University Press, 2013.Google Scholar
Estill, Robin. ‘The Factory Lad: Melodrama as Propaganda’. Theatre Quarterly, 1 (1971). 22–6.Google Scholar
Evans, Bertrand. Gothic Drama from Walpole to Shelley. Berkeley and Los Angeles: University of California Press, 1947.Google Scholar
Fisher, Judith L. ‘The “Sensation Scene” in Charles Dickens and Dion Boucicault’. Dramatic Dickens. Ed. MacKay, Carol Hanbery. New York: Palgrave Macmillan, 1989. 152–67.Google Scholar
Frank, Frederick. The Origins of the Modern Study of Gothic Drama. Lewiston: Edwin Mellen Press, 2006.Google Scholar
Gaines, Jane M. ‘Even More Tears: The Historical Time Theory of Melodrama’. Melodrama Unbound. Eds. Gledhill, Christine and Williams, Linda. New York: Columbia University Press, 2018. 325–39.Google Scholar
Gaines, Jane M. ‘4 Months, 3 Weeks, and 2 Days. Where is Marxism in Melodrama Theory?’ Le mélodrama filmique revisité / Revisiting Film Melodrama. Eds. Andrin, Muriel, Gailly, Anne, and Nasta, Dominique. Brussels: Peter Lang, 2014. 277–91.Google Scholar
Garcia, Gustave. The Actor’s Art. Second edition. London: Simpkin, Marshall & Co., 1888.Google Scholar
Gardner, Vivien and Rutherford, Susan (eds.) The New Woman and Her Sisters: Feminism and Theatre, 1850–1914. Ann Arbor: University of Michigan Press, 1992.Google Scholar
Garlington, Aubrey S. ‘“Gothic” Literature and Dramatic Music in England’. Journal of the American Musicological Society, 15 (1962). 48–64.Google Scholar
Gerould, Daniel (ed.). ‘Melodrama and Revolution’. Melodrama: Stage, Picture, Screen. Eds. Bratton, Jacky, Cook, Jim, and Gledhill, Christine. London: British Film Institute, 1994. 185–98.Google Scholar
Gledhill, Christine (ed.). Gender Meets Genre in Postwar Cinemas. Urbana: University of Illinois Press, 2012.Google Scholar
Gerould, Daniel(ed.). Home Is Where the Heart Is: Studies in Melodrama and the Woman’s Film. London: British Film Institute, 1987.Google Scholar
Gerould, Daniel(ed.). ‘Rethinking Genre’. Reinventing Film Studies. Eds. Gledhill, Christine and Williams, Linda. London: Arnold, 2000. 219–43.Google Scholar
Gledhill, Christine and Williams, Linda (eds.). Melodrama Unbound. New York: Columbia University Press, 2018.Google Scholar
Glenn, George D. ‘Nautical “Docudrama” in the Age of the Kembles’. When They Weren’t Doing Shakespeare: Essays on Nineteenth-Century British and American Theatre. Eds. Fisher, Judith L. and Stephen, Watt. Athens: University of Georgia Press, 1989. 137–51.Google Scholar
Goldberg, Jonathan. Melodrama: An Aesthetics of Impossibility. Durham: Duke University Press, 2016.Google Scholar
Gould, Marty. Nineteenth-Century Theatre and the Imperial Encounter. London: Routledge, 2011.Google Scholar
Graziano, John. ‘Invisible Instruments: Theater Orchestras in New York, 1850-1900’. American Orchestras in the Nineteenth Century. Ed. Spitzer, John. Chicago: University of Chicago Press, 2012. 109–29.Google Scholar
Hadley, Elaine. Melodramatic Tactics: Theatricalized Dissent in the English Marketplace, 1800–1885. Stanford: Stanford University Press, 1995.Google Scholar
Haggerty, Sheryllynne. Merely for Money: Business Culture in the British Atlantic, 1750–1815. Oxford: Oxford University Press, 2012.Google Scholar
Hambridge, Katherine and Hicks, Jonathan (eds.). The Melodramatic Moment, 1790–1820. Chicago: University of Chicago Press, 2018.Google Scholar
Hays, Michael and Nikolopoulou, Anastasia (eds.). Melodrama: The Cultural Emergence of a Genre. New York: St. Martin’s Press, 1996.Google Scholar
Heilman, Robert. Tragedy and Melodrama: Versions of Experience. Seattle: University of Washington Press, 1968.Google Scholar
Hibberd, Sarah (ed.). Melodramatic Voices: Understanding Music Drama. Farnham: Ashgate, 2011.Google Scholar
Holder, Heidi J. ‘Melodrama, Realism and Empire on the British Stage’. Acts of Supremacy: The British Empire and the Stage, 1790–1930. Manchester: Manchester University Press, 1991. 129–49.Google Scholar
Hulme, David Russell. ‘Orpheus with his Lute: Sources of Edward German’s Music for the Victorian and Edwardian Drama’. Brio, 37 (2000). 36–47.Google Scholar
Hultgren, Neil. Melodramatic Imperial Writing: From the Sepoy Rebellion to Cecil Rhodes. Athens: Ohio University Press, 2014.Google Scholar
James, Louis. Fiction for the Working Man, 1830–1850. Oxford: Oxford University Press, 1963.Google Scholar
Jerome, Jerome K. Stage-Land: Curious Habits and Customs of Its Inhabitants. London: Chatto & Windus, 1889.Google Scholar
John, Juliet. Dickens’s Villains: Melodrama, Character, Popular Culture. Oxford: Oxford University Press, 2001.Google Scholar
John, Juliet. ‘Melodrama’. Oxford Bibliographies: Victorian Literature. 2 March 2011. www.oxfordbibliographies.com/view/document/obo-9780199799558/obo-9780199799558–0042.xml.Google Scholar
John, Juliet. ‘Melodrama and Its Criticism: An Essay in Memory of Sally Ledger’. 19: Interdisciplinary Studies in the Long Nineteenth Century, 8 (2009). http://doi.org/10.16995/ntn.496.Google Scholar
Johnson, Ray. ‘Tricks, Traps and Transformations: Illusion in Victorian Spectacular Theatre’. Early Popular Visual Culture, 5 (2007). 151–65.Google Scholar
Jones, David. Gothic Machine: Textualities, Pre-Cinematic Media and Film in Popular Visual Culture, 1670–1910. Cardiff: University of Wales Press, 2011.Google Scholar
Knapp, Raymond. The American Musical and the Formation of National Identity. Princeton: Princeton University Press, 2005.Google Scholar
Leaver, Kristen. ‘Victorian Melodrama and the Performance of Poverty’. Victorian Literature and Culture, 27 (1999). 443–56.Google Scholar
Ledger, Sally. Dickens and the Popular Radical Imagination. Cambridge: Cambridge University Press, 2007.Google Scholar
Lewes, George Henry. On Actors and the Art of Acting. London: Smith, Elder & Co., 1875.Google Scholar
Lhamon, W. T. Jump Jim Crow: Lost Plays, Lyrics, and Street Prose of the First Atlantic Popular Culture. Cambridge: Harvard University Press, 2003.Google Scholar
Loren, Scott and Metelmann, Jörg (eds.). Melodrama After the Tears: New Perspectives on the Politics of Victimhood. Amsterdam: Amsterdam University Press, 2015.Google Scholar
MacKenzie, John. Orientalism: History, Theory, and the Arts. Manchester: Manchester University Press, 1995.Google Scholar
Marcus, Sharon. The Drama of Celebrity. Princeton: Princeton University Press, forthcoming.Google Scholar
Marcus, Sharon. ‘Salome!! Sarah Bernhardt, Oscar Wilde, and the Drama of Celebrity’. PMLA, 126 (2011). 999–1021.Google Scholar
Marsan, Jules. ‘Le Mélodrama et Guilbert de Pixérécourt’. Revue d’Histoire littéraire de la France, 7e Année, no. 2 (1900). 196–220.Google Scholar
Mayer, David. ‘Encountering Melodrama’. The Cambridge Companion to Victorian and Edwardian Theatre. Ed. Powell, Kerry. Cambridge: Cambridge University Press, 2004. 145–63.Google Scholar
Mayer, David. Henry Irving and The Bells. Manchester: Manchester University Press, 1980.Google Scholar
Mayer, David. ‘Nineteenth Century Theatre Music’. Theatre Notebook, 30 (1976). 115–22.Google Scholar
Mayer, David (ed.). Playing Out the Empire: Ben Hur and Other Toga Plays and Films, 1883–1908: A Critical Anthology. Oxford: Clarendon Press, 1994.Google Scholar
Mayer, David. Stagestruck Filmmaker: D. W. Griffith and the American Theatre. Iowa City: University of Iowa Press, 2009.Google Scholar
Mayer, David and Scott, Matthew. Four Bars of ‘Agit’: Incidental Music for Victorian and Edwardian Melodrama. London: Samuel French, 1983.Google Scholar
Mayhew, Henry. London Labour and the London Poor. 4 vols. Reprint. New York: Dover, 1967.Google Scholar
McConachie, Bruce A. Melodramatic Formations: American Theatre and Society, 1820–1870. Iowa City: University of Iowa Press, 1992.Google Scholar
McWilliam, Rohan. ‘Melodrama’. A Companion to Sensation Fiction. Ed. Gilbert, Pamela K.. Chichester, West Sussex: Wiley-Blackwell, 2011. 54–66.Google Scholar
McWilliam, Rohan. ‘Melodrama and the Historians’. Radical History Review, 78 (2000). 57–84.Google Scholar
Meer, Sarah. Uncle Tom Mania: Slavery, Minstrelsy and Transatlantic Culture in the 1850s. Athens: University of Georgia Press, 2005.Google Scholar
Meisel, Martin. Realizations: Narrative, Pictorial, and Theatrical Arts in Nineteenth Century England. Princeton: Princeton University Press, 1983.Google Scholar
Meisel, Martin. ‘Scattered Chiaroscuro: Melodrama as a Way of Seeing’. Melodrama: Stage, Picture, Screen. Eds. Bratton, Jacky, Cook, Jim, and Gledhill, Christine. London: British Film Institute, 1994. 65–81.Google Scholar
Mercer, John and Shingler, Martin. Melodrama: Genre, Style, Sensibility. London: Wallflower, 2004.Google Scholar
Metayer, Léon. ‘What the Heroine Taught, 1830–1870’. Melodrama: The Cultural Emergence of a Genre. Eds. Hays, Michael and Nikolopoulou, Anastasia. New York: St. Martin’s Press, 1996. 235–44.Google Scholar
Moody, Jane, and O’Quinn, Daniel (eds.). The Cambridge Companion to British Theatre, 1730–1830. Cambridge: Cambridge University Press, 2007.CrossRefGoogle Scholar
Moody, Jane, and O’Quinn, Daniel (eds.). Illegitimate Theatre in London, 1770–1840. Cambridge: Cambridge University Press, 2000.Google Scholar
Morosetti, Tiziana (ed.). Staging the Other in Nineteenth-Century British Drama. Bern: Peter Lang, 2015.Google Scholar
Mukherjee, Ankhi. Aesthetic Hysteria: The Great Neurosis in Victorian Melodrama and Contemporary Fiction. New York: Routledge, 2007.Google Scholar
Mulvey, Laura. ‘“It Will Be a Magnificent Obsession”: The Melodrama’s Role in the Development of Contemporary Film Theory’. Melodrama: Stage, Picture, Screen. Eds. Bratton, Jacky, Cook, Jim, and Gledhill, Christine. London: British Film Institute, 1994. 121–33.Google Scholar
Neale, Steve. ‘Melo Talk: On the Meaning and Use of the Term “Melodrama” in the American Trade Press’. The Velvet Light Trap, 32 (1993). 66–89.Google Scholar
Newey, Katherine. Women’s Theatre Writing in Victorian Britain. Basingstoke: Palgrave Macmillan, 2005.Google Scholar
Nicoll, Allardyce. A History of Early Nineteenth-Century Drama, 1800–1850. 2 vols. Cambridge: Cambridge University Press, 1959.Google Scholar
O’Hara, Glenn. Britain and the Sea: Since 1600. Basingstoke: Palgrave Macmillan, 2010.Google Scholar
O’Neill, Norman. ‘Music to Stage Plays’. Proceeding for the Royal Musical Association (21 March 1911). 85–102.Google Scholar
Pao, Angela C. The Orient of the Boulevards: Exoticism, Empire, and Nineteenth-Century French Theater. Philadelphia: University of Pennsylvania Press, 1998.Google Scholar
Pisani, Michael V. Music for the Melodramatic Theatre in Nineteenth-Century London and New York. Iowa City: University of Iowa Press, 2014.Google Scholar
Pisani, Michael V. ‘The Corsican Brothers and the Legacy of Its Tremulous “Ghost Melody”’. Journal of Film Music, 5 (2012). 29–39.Google Scholar
Pisani, Michael V. ‘Music for the Theatre: Style and Function in Incidental Music’. The Cambridge Companion to Victorian and Edwardian Theatre. Ed. Powell, Kerry. Cambridge: Cambridge University Press, 2004. 70–92.Google Scholar
Powell, Kerry (ed.). The Cambridge Companion to Victorian and Edwardian Theatre. Cambridge: Cambridge University Press, 2004.Google Scholar
Powell, Kerry (ed.). Women and Victorian Theatre. Cambridge: Cambridge University Press, 1997.Google Scholar
Preston, Carrie J. Modernism’s Mythic Pose: Gender, Genre, Solo Performance. Oxford: Oxford University Press, 2011.Google Scholar
Preston, Katherine. ‘American Musical Theatre Before the Twentieth Century’. The Cambridge Companion to the Musical. Eds. Everett, William A. and Laird, Paul R.. Third edition. Cambridge: Cambridge University Press, 2017. 21–50.Google Scholar
Rahill, Frank. The World of Melodrama. University Park: Pennsylvania State University Press, 1967.Google Scholar
Ranger, Paul. ‘Terror and Pity reign in every Breast’: Gothic Drama in the London Patent Theatres, 1750–1820. London: Society for Theatre Research, 1991.Google Scholar
Redmond, James (ed.). Themes in Drama 14: Melodrama. Cambridge: Cambridge University Press, 1991.Google Scholar
Reid, Alastair. Social Classes and Social Relations in Britain, 1850–1914. Second edition. Cambridge: Cambridge University Press, 1995.Google Scholar
Richards, Kenneth and Thomson, Peter (eds.). Nineteenth Century British Theatre. London: Methuen, 1971.Google Scholar
Roach, Joseph. Cities of the Dead: Circum-Atlantic Performance. New York: Columbia University Press, 1996.Google Scholar
Roach, Joseph. The Player’s Passion: Studies in the Science of Acting. Newark: University of Delaware Press, 1985.Google Scholar
Rowell, George. William Terriss and Richard Prince: Two Characters in an Adelphi Melodrama. London: Society for Theatre Research, 1987.Google Scholar
Rowell, George. The Victorian Theatre, 1792–1914: A Survey. Oxford: Oxford University Press, 1956.Google Scholar
Roy, Donald and Emeljanow, Victor. Romantic and Revolutionary Theatre, 1789–1860. Cambridge: Cambridge University Press, 2003.Google Scholar
Russell, Gillian. The Theatres of War: Performance, Politics and Society, 1793–1815. Oxford: Clarendon Press, 1995.Google Scholar
Saggini, Francesca. The Gothic Novel and the Stage: Romantic Appropriations. London: Pickering & Chatto, 2015.Google Scholar
Saglia, Diego. ‘“The Frighted Stage”: The Sensational Proliferation of Ghost Melodrama in the 1820s’. Studies in Romanticism, 54 (2015). 269–93.Google Scholar
Saglia, Diego. ‘“I Almost Dread to Tell You”: Gothic Melodrama and the Aesthetic of Silence in Thomas Holcroft’s A Tale of Mystery’. Gothic Studies, 14 (2012). 93–107.Google Scholar
Saglia, Diego. ‘The Gothic Stage’. Romantic Gothic. Ed. Wright, Angela and Townsend, Dale. Edinburgh: Edinburgh University Press, 2016. 73–94.Google Scholar
Sala, Emilio. L’opera senza canto, il mélo romantico e l’invenzione della colonna sonora. Venice: Marsilio, 1995.Google Scholar
Schoch, Richard. Queen Victoria and the Theatre of Her Age. Basingstoke: Palgrave Macmillan, 2004.Google Scholar
Scott, Clement. The Drama of Yesterday & To-day. 2 vols. London: Macmillan and Co. Ltd., 1899.Google Scholar
Sedgwick, Eve Kosofsky. The Coherence of Gothic Conventions. Reprint. New York: Methuen, 1986.Google Scholar
Sgroi, Renée. ‘Authentic Reality TV Selves: The Case for Melodrama’. Television, Aesthetics and Reality. Ed. Barker, Anthony. Cambridge: Cambridge University Press, 2006. 225–47.Google Scholar
Shapiro [McLucas], Anne Dhu. ‘Action Music in American Pantomime and Melodrama, 1730-1913’. American Music 1 (1984). 49–72.Google Scholar
Shaw, George Bernard. Our Theatres in the Nineties. 3 vols. London: Constable and Company Ltd., 1932.Google Scholar
Shawn, Ted. Every Little Movement: A Book about François Delsarte. Reprint. Princeton: Princeton Book Company Publishers, 1975.Google Scholar
Shepherd, Simon and Womack, Peter. English Drama: A Cultural History. Oxford: Blackwell, 1996.Google Scholar
Shepherd, Simon and Womack, Peter. ‘Pauses of Mutual Agitation’. Melodrama: Stage, Picture, Screen. Eds. Bratton, Jacky, Cook, Jim, and Gledhill, Christine. London: British Film Institute, 1994. 25–37.Google Scholar
Singer, Ben. Melodrama and Modernity: Early Sensational Cinema and Its Contexts. New York: Columbia University Press, 2001.Google Scholar
Skeggs, Beverley and Wood, Helen. Reacting to Reality Television: Performance, Audience and Value. London: Routledge, 2012.Google Scholar
Smith, Tiffany Watt. On Flinching: Theatricality and Scientific Looking from Darwin to Shell Shock. Oxford: Oxford University Press, 2014.Google Scholar
Sondheim, Stephen ‘Larger than Life: Reflections on Melodrama and Sweeney Todd’. Melodrama. Ed. Gerould, Daniel. New York: New York Literary Forum, 1980, 3–14.Google Scholar
Stephens, John Russell. The Censorship of English Drama, 1824–1901. Cambridge: Cambridge University Press, 1980.Google Scholar
Storey, John. Culture and Power in Cultural Studies: the Politics of Signification. Edinburgh: Edinburgh University Press, 2010.Google Scholar
Swindells, Julia and Taylor, David Francis (eds.). The Oxford Handbook of the Georgian Theatre, 1737–1832. Oxford: Oxford University Press, 2014.Google Scholar
Swindells, Julia and Taylor, David Francis (eds.). Glorious Causes: The Grand Theatre of Political Change, 1789–1833. Oxford: Oxford University Press, 2001.Google Scholar
Taylor, George. The French Revolution and the London Stage, 1798–1805. Cambridge: Cambridge University Press, 2000.Google Scholar
Taylor, George. ‘François Delsarte: A Codification of Nineteenth-Century Acting’. Theatre Research International, 24 (1999). 71–81.Google Scholar
Taylor, George. Players and Performances in the Victorian Theatre. Manchester: Manchester University Press, 1989.Google Scholar
Trussler, Simon. ‘A Chronology of Early Melodrama, 1764–1840’. Theatre Quarterly, 1 (1971). 19–21.Google Scholar
Van Kooy, Dana. ‘Darkness Visible: The Early Melodrama of British Imperialism and the Commodification of History in Sheridan’s Pizarro’. Theatre Journal, 64 (2012). 179–96.Google Scholar
Van den Akker, Robin and Vermeulen, Timotheus. ‘Notes on Metamodernism’. Journal of Aesthetics and Culture, 2 (2010). 1–14.Google Scholar
Vardac, A. Nicholas. Stage to Screen: Theatrical Method from Garrick to Griffith. Cambridge: Harvard University Press, 1949.Google Scholar
Vicinus, Martha. ‘“Helpless and Unfriended”: Nineteenth-Century Domestic Melodrama’. When They Weren’t Doing Shakespeare: Essays on Nineteenth-Century British and American Theatre. Eds. Fisher, Judith L. and Watt, Stephen. Athens: University of Georgia Press, 1989. 174–86.Google Scholar
Voskuil, Lynn M. Acting Naturally: Victorian Theatricality and Authenticity. Charlottesville: University of Virginia Press, 2004.Google Scholar
Wadsworth, Darryl. ‘“A Low Born Labourer Like You”: Audience and Working-Class Melodrama’. Varieties of Victorianism: The Uses of a Past. Ed. Day, Gary. London: Macmillan, 1998. 206–19.Google Scholar
Waeber, Jacqueline. Music and the Melodramatic Hybrid, from Rousseau to Schoenberg. Trans. Huebner, Stephen. Rochester: University of Rochester Press, forthcoming 2018.Google Scholar
Waldman, Harry. Maurice Tourneur: The Life and Films. Jefferson, North Carolina: McFarland and Co., 2001.Google Scholar
Waters, Hazel. Racism on the Victorian Stage: Representation of Slavery and the Black Character. Cambridge: Cambridge University Press, 2007.Google Scholar
Waters, Maureen. ‘The Stage Irishman’. The Comic Irishman. Albany: State University of New York Press, 1984. 41–57.Google Scholar
Wells, H. G. Anticipations of the Reaction of Mechanical and Scientific Progress upon Human Life and Thought. London: Chapman & Hall, 1901.Google Scholar
Weltman, Sharon Aronofsky. ‘“Can a Fellow Be a Villain All His Life?”: Oliver!, Fagin, and Performing Jewishness’. Nineteenth-Century Contexts, 33 (2011). 371–88.Google Scholar
Weltman, Sharon Aronofsky. ‘Theater, Exhibition, and Spectacle in the Nineteenth Century’. Companion to British Literature. Eds. DeMaria, Robert Jr, Chang, Heesok, and Zacher, Samantha. London: Wiley Blackwell, 2014. 68–88.Google Scholar
Williams, Carolyn. Gilbert and Sullivan: Gender, Genre, Parody. New York: Columbia University Press, 2010.Google Scholar
Williams, Carolyn. ‘Melodrama’. The New Cambridge History of Victorian Literature. Ed. Flint, Kate. Cambridge: Cambridge University Press, 2012. 193–219.Google Scholar
Williams, Carolyn. ‘Moving Pictures: George Eliot and Melodrama’. Compassion: The Culture and Politics of an Emotion. Ed. Berlant, Lauren. New York and London: Routledge, 2004. 105–144.Google Scholar
Williams, Linda. ‘Mega-Melodrama! Vertical and Horizontal Suspensions of the “Classical”’. Modern Drama, 55 (2012). 523–43.Google Scholar
Williams, Linda. ‘Melodrama Revisited’. Refiguring American Film Genres. Ed. Browne, Nick. Berkeley: University of California Press, 1998. 42–82.Google Scholar
Williams, Linda. Playing the Race Card: Melodramas of Black and White from Uncle Tom to O. J. Simpson. Berkeley: University of California Press, 2001.Google Scholar
Wilmore, David (ed.). Edwin O. Sachs: Architect, Stagehand, Engineer and Fireman. Northants: Theatresearch, 1998.Google Scholar
Yeandle, Peter. ‘“Executed with remarkable care and artistic feeling”: Music Hall Ballet and Popular Imperialism’. Politics, Performance and Popular Culture. Eds. Newey, Kate, Richards, Jeffrey, and Yeandle, Peter. Manchester: Manchester University Press, 2016. 152–73.Google Scholar
Ziter, Edward. The Orient on the Victorian Stage. Cambridge: Cambridge University Press, 2003.Google Scholar
Zunshine, Lisa. Acting Theory and the English Stage, 1700–1830. 5 vols. London: Pickering & Chatto, 2008.Google Scholar