Julia Swindells was a writer and teacher in Cambridge. She authored Glorious Causes: The Grand Theatre of Political Change, 1789-1833 (2001), and co-edited Pickering & Chatto's edition of Eighteenth-Century Women's Theatrical Memoirs (2007-8).David Francis Taylor is Associate Professor of English at the University of Warwick. He is the author of Theatres of Opposition: Empire, Revolution, and Richard Brinsley Sheridan (2012), as well as a number of articles on the political contexts of theatre in the Georgian period.

exceptionally clear ... an indispensable teaching resource ... Showcasing the very latest research in this field in an accessible and detailed manner, and capturing all of the vibrancy and dynamism of the Georgian theatre, this Handbook will remain a vital resource for those teaching and researching Georgian culture for many years to come.

• Abbreviations and Conventions List of Figures List of Contributors David Francis Taylor: Introduction Theatre, Theory, Historiography Angie Sandhu: Enlightenment, Exclusion, and the Publics of the Georgian Theatre Betsy Bolton: Theorizing Audience and Spectatorial Agency Marvin Carlson: Theorizing the Performative Event David Francis Taylor: Theatre Managers and the Managing of Theatre History Legislating Drama David Thomas: The 1737 Licensing Act and its Impact Julia Swindells: The Political Context of the 1737 Licensing Act Matthew J. Kinservik: The Dialectics of Print and Performance after 1737 Katherine Newey: The 1832 Select Committee Jim Davis: Looking Towards 1843 and the End of the Monopoly The Changing Cultures of Performance Frederick Burwick: Georgian Theories of the Actor Heather McPherson: Theatrical Celebrity and the Commodification of the Actor Gefen Bar-On Santor: Shakespeare in the Georgian Theatre Kristina Straub: Performing Variety, Packaging Difference Peter P. Reed: Interrogating Legitimacy in Britain and America The Whole Show: Spectacles, Sounds, Spaces Kathryn R. Barush: Painting the Scene Shearer West: Manufacturing Spectacle Vanessa L. Rogers: Orchestra and Theatre Music Erin J. Smith: Dance and the Theatre Colin Blumenau: Restoring a Georgian Playhouse Genres and Forms Misty G. Anderson: Genealogies of Comedy Felicity Nussbaum: The Challenge of Tragedy John O'Brien: Pantomimic Politics Jeffrey N. Cox: The Gothic Drama: Tragedy or Comedy? Michael Burden: The Writing and Staging of Georgian Romantic Opera Catherine Burroughs: The Stages of Closet Drama Matthew S. Buckley: The Formation of Melodrama Theatre and the Romantic Canon John Gardner: The Case of Byron's Marino Faliero Jacqueline Mulhallen: Shelley, Viganò, and Coreodramma David O'Shaughnessy: William Godwin and the Politics of Playgoing Penny Gay: Jane Austen's Stage Women and the Stage Helen E. M. Brooks: Theorizing the Woman Performer Thomas C. Crochunis: Women Theatre Managers Marjean D. Purinton: Women Playwrights Paula R. Backscheider: Retrieving Elizabeth Inchbald Performing Race and Empire Bridget Orr: Empire, Sentiment, and Theatre Daniel O'Quinn: Theatre, Islam, and the Question of Monarchy Odai Johnson: The Georgian Theatre in Colonial America Prathibha Kanakamedala: Staging Atlantic Slavery Nandini Bhattacharya, Mita Choudhury, Frank Felsenstein, Jean I. Marsden: Colman's Inkle and Yarico: four perspectives Marcus Wood: Historic Williamsburg: Theatre, Memory, and Colonial Slavery Index

Julia Swindells was a writer and teacher in Cambridge. She authored Glorious Causes: The Grand Theatre of Political Change, 1789-1833 (2001), and co-edited Pickering & Chatto's edition of Eighteenth-Century Women's Theatrical Memoirs (2007-8).David Francis Taylor is Associate Professor of English at the University of Warwick. He is the author of Theatres of Opposition: Empire, Revolution, and Richard Brinsley Sheridan (2012), as well as a number of articles on the political contexts of theatre in the Georgian period.

exceptionally clear ... an indispensable teaching resource ... Showcasing the very latest research in this field in an accessible and detailed manner, and capturing all of the vibrancy and dynamism of the Georgian theatre, this Handbook will remain a vital resource for those teaching and researching Georgian culture for many years to come.

• Abbreviations and Conventions List of Figures List of Contributors David Francis Taylor: Introduction Theatre, Theory, Historiography Angie Sandhu: Enlightenment, Exclusion, and the Publics of the Georgian Theatre Betsy Bolton: Theorizing Audience and Spectatorial Agency Marvin Carlson: Theorizing the Performative Event David Francis Taylor: Theatre Managers and the Managing of Theatre History Legislating Drama David Thomas: The 1737 Licensing Act and its Impact Julia Swindells: The Political Context of the 1737 Licensing Act Matthew J. Kinservik: The Dialectics of Print and Performance after 1737 Katherine Newey: The 1832 Select Committee Jim Davis: Looking Towards 1843 and the End of the Monopoly The Changing Cultures of Performance Frederick Burwick: Georgian Theories of the Actor Heather McPherson: Theatrical Celebrity and the Commodification of the Actor Gefen Bar-On Santor: Shakespeare in the Georgian Theatre Kristina Straub: Performing Variety, Packaging Difference Peter P. Reed: Interrogating Legitimacy in Britain and America The Whole Show: Spectacles, Sounds, Spaces Kathryn R. Barush: Painting the Scene Shearer West: Manufacturing Spectacle Vanessa L. Rogers: Orchestra and Theatre Music Erin J. Smith: Dance and the Theatre Colin Blumenau: Restoring a Georgian Playhouse Genres and Forms Misty G. Anderson: Genealogies of Comedy Felicity Nussbaum: The Challenge of Tragedy John O'Brien: Pantomimic Politics Jeffrey N. Cox: The Gothic Drama: Tragedy or Comedy? Michael Burden: The Writing and Staging of Georgian Romantic Opera Catherine Burroughs: The Stages of Closet Drama Matthew S. Buckley: The Formation of Melodrama Theatre and the Romantic Canon John Gardner: The Case of Byron's Marino Faliero Jacqueline Mulhallen: Shelley, Viganò, and Coreodramma David O'Shaughnessy: William Godwin and the Politics of Playgoing Penny Gay: Jane Austen's Stage Women and the Stage Helen E. M. Brooks: Theorizing the Woman Performer Thomas C. Crochunis: Women Theatre Managers Marjean D. Purinton: Women Playwrights Paula R. Backscheider: Retrieving Elizabeth Inchbald Performing Race and Empire Bridget Orr: Empire, Sentiment, and Theatre Daniel O'Quinn: Theatre, Islam, and the Question of Monarchy Odai Johnson: The Georgian Theatre in Colonial America Prathibha Kanakamedala: Staging Atlantic Slavery Nandini Bhattacharya, Mita Choudhury, Frank Felsenstein, Jean I. Marsden: Colman's Inkle and Yarico: four perspectives Marcus Wood: Historic Williamsburg: Theatre, Memory, and Colonial Slavery Index

Julia Swindells was a writer and teacher in Cambridge. She authored Glorious Causes: The Grand Theatre of Political Change, 1789-1833 (2001), and co-edited Pickering & Chatto's edition of Eighteenth-Century Women's Theatrical Memoirs (2007-8).David Francis Taylor is Associate Professor of English at the University of Warwick. He is the author of Theatres of Opposition: Empire, Revolution, and Richard Brinsley Sheridan (2012), as well as a number of articles on the political contexts of theatre in the Georgian period.

exceptionally clear ... an indispensable teaching resource ... Showcasing the very latest research in this field in an accessible and detailed manner, and capturing all of the vibrancy and dynamism of the Georgian theatre, this Handbook will remain a vital resource for those teaching and researching Georgian culture for many years to come.

• Abbreviations and Conventions List of Figures List of Contributors David Francis Taylor: Introduction Theatre, Theory, Historiography Angie Sandhu: Enlightenment, Exclusion, and the Publics of the Georgian Theatre Betsy Bolton: Theorizing Audience and Spectatorial Agency Marvin Carlson: Theorizing the Performative Event David Francis Taylor: Theatre Managers and the Managing of Theatre History Legislating Drama David Thomas: The 1737 Licensing Act and its Impact Julia Swindells: The Political Context of the 1737 Licensing Act Matthew J. Kinservik: The Dialectics of Print and Performance after 1737 Katherine Newey: The 1832 Select Committee Jim Davis: Looking Towards 1843 and the End of the Monopoly The Changing Cultures of Performance Frederick Burwick: Georgian Theories of the Actor Heather McPherson: Theatrical Celebrity and the Commodification of the Actor Gefen Bar-On Santor: Shakespeare in the Georgian Theatre Kristina Straub: Performing Variety, Packaging Difference Peter P. Reed: Interrogating Legitimacy in Britain and America The Whole Show: Spectacles, Sounds, Spaces Kathryn R. Barush: Painting the Scene Shearer West: Manufacturing Spectacle Vanessa L. Rogers: Orchestra and Theatre Music Erin J. Smith: Dance and the Theatre Colin Blumenau: Restoring a Georgian Playhouse Genres and Forms Misty G. Anderson: Genealogies of Comedy Felicity Nussbaum: The Challenge of Tragedy John O'Brien: Pantomimic Politics Jeffrey N. Cox: The Gothic Drama: Tragedy or Comedy? Michael Burden: The Writing and Staging of Georgian Romantic Opera Catherine Burroughs: The Stages of Closet Drama Matthew S. Buckley: The Formation of Melodrama Theatre and the Romantic Canon John Gardner: The Case of Byron's Marino Faliero Jacqueline Mulhallen: Shelley, Viganò, and Coreodramma David O'Shaughnessy: William Godwin and the Politics of Playgoing Penny Gay: Jane Austen's Stage Women and the Stage Helen E. M. Brooks: Theorizing the Woman Performer Thomas C. Crochunis: Women Theatre Managers Marjean D. Purinton: Women Playwrights Paula R. Backscheider: Retrieving Elizabeth Inchbald Performing Race and Empire Bridget Orr: Empire, Sentiment, and Theatre Daniel O'Quinn: Theatre, Islam, and the Question of Monarchy Odai Johnson: The Georgian Theatre in Colonial America Prathibha Kanakamedala: Staging Atlantic Slavery Nandini Bhattacharya, Mita Choudhury, Frank Felsenstein, Jean I. Marsden: Colman's Inkle and Yarico: four perspectives Marcus Wood: Historic Williamsburg: Theatre, Memory, and Colonial Slavery Index