David Francis Taylor is Assistant Professor of English at the University of Toronto. He studied at Universities of St. Andrews and Cambridge, and has published articles in Eighteenth-Century Studies, European Romantic Review, and New Theatre Quarterly. He is co-editor of The Oxford Handbook to the Georgian Playhouse (forthcoming).

an impressive study that shows how Sheridans political and theatrical activities bled into each other, with both the playhouse and parliament conceived of (by himself and others) as crucibles of opposition. Contesting a widespread tendency to see Sheridans dramatic and political activities as distinct, Taylor provides a minutely evidenced account of Sheridans career as a dramatist that places much greater emphasis on his hugely successful tragedy Pizarro. Although one might be inclined to argue with his view that Pizarro marks a radical departure from all the previous British dramatizations of the black legend, Taylor makes a powerful case for the staging of the plays anti-imperial spectacle in the context of colonial oppression in India and Ireland.

• PART I: REPRESENTING (MIS)REPRESENTATIONS; PART II: RHETORICS OF ATROCITY; PART III: REVOLUTIONARY STAGE EFFECTS

David Francis Taylor is Assistant Professor of English at the University of Toronto. He studied at Universities of St. Andrews and Cambridge, and has published articles in Eighteenth-Century Studies, European Romantic Review, and New Theatre Quarterly. He is co-editor of The Oxford Handbook to the Georgian Playhouse (forthcoming).

an impressive study that shows how Sheridans political and theatrical activities bled into each other, with both the playhouse and parliament conceived of (by himself and others) as crucibles of opposition. Contesting a widespread tendency to see Sheridans dramatic and political activities as distinct, Taylor provides a minutely evidenced account of Sheridans career as a dramatist that places much greater emphasis on his hugely successful tragedy Pizarro. Although one might be inclined to argue with his view that Pizarro marks a radical departure from all the previous British dramatizations of the black legend, Taylor makes a powerful case for the staging of the plays anti-imperial spectacle in the context of colonial oppression in India and Ireland.

• PART I: REPRESENTING (MIS)REPRESENTATIONS; PART II: RHETORICS OF ATROCITY; PART III: REVOLUTIONARY STAGE EFFECTS