Daniel O'Quinn – författare

The Routledge Pantomime Reader is the first anthology to document this entertainment genre—one of the most distinctive and ubiquitous in nineteenth-century Britain.

Across ten different shows, readers witness pantomime’s development from a highly improvisational venue for clowning, dance, and musical parody to a complex amalgamation of physical and topical comedy, stage wizardry, scenic spectacle, satire, and magical mayhem. Combining well-known tales such as "Cinderella", "Aladdin", and "Jack and the Beanstalk" with the lesser-known plotlines of "Peter Wilkins" and "The Prince of Happy Land", the book demonstrates not only how popular narratives were adapted to the current moment, but also how this blend of high and low entertainment addressed a whole range of social and cultural anxieties. Along with carefully annotated scripts, readers will find detailed introductions to all of the collected pantomimes and supplementary materials such as reviews, reminiscences, and a host of visual materials that bring these neglected entertainments to life.

The plays collected here provide a remarkable perspective on the history of sexuality, class, and race during a period of vast imperial expansion and important social upheaval in Britain itself—essential reading for students and scholars of theatre history and popular performance.

The Routledge Pantomime Reader is the first anthology to document this entertainment genre—one of the most distinctive and ubiquitous in nineteenth-century Britain.

Across ten different shows, readers witness pantomime’s development from a highly improvisational venue for clowning, dance, and musical parody to a complex amalgamation of physical and topical comedy, stage wizardry, scenic spectacle, satire, and magical mayhem. Combining well-known tales such as "Cinderella", "Aladdin", and "Jack and the Beanstalk" with the lesser-known plotlines of "Peter Wilkins" and "The Prince of Happy Land", the book demonstrates not only how popular narratives were adapted to the current moment, but also how this blend of high and low entertainment addressed a whole range of social and cultural anxieties. Along with carefully annotated scripts, readers will find detailed introductions to all of the collected pantomimes and supplementary materials such as reviews, reminiscences, and a host of visual materials that bring these neglected entertainments to life.

The plays collected here provide a remarkable perspective on the history of sexuality, class, and race during a period of vast imperial expansion and important social upheaval in Britain itself—essential reading for students and scholars of theatre history and popular performance.

The Routledge Anthology of Restoration and Eighteenth-Century Drama brings together the work of key playwrights from 1660 to 1800, divided into three main sections:

Each of the 20 plays featured is accompanied by an extraordinary wealth of print and online supplementary materials, including primary critical sources, commentaries, illustrations, and reviews of productions. Taking in the spectrum of this period’s dramatic landscape—from Restoration tragedy and comedies of manners to ballad opera and gothic spectacle—The Routledge Anthology of Restoration and Eighteenth-Century Drama is an essential resource for students and teachers alike.

The Routledge Anthology of Restoration and Eighteenth-Century Drama brings together the work of key playwrights from 1660 to 1800, divided into three main sections:

Each of the 20 plays featured is accompanied by an extraordinary wealth of print and online supplementary materials, including primary critical sources, commentaries, illustrations, and reviews of productions. Taking in the spectrum of this period’s dramatic landscape—from Restoration tragedy and comedies of manners to ballad opera and gothic spectacle—The Routledge Anthology of Restoration and Eighteenth-Century Drama is an essential resource for students and teachers alike.

The Routledge Anthology of Restoration and Eighteenth-Century Performance brings together a selection of particularly memorable performances, beginning with Nell Gwyn in a 1668 staging of Secret Love, and moving chronologically towards the final performance of John Philip Kemble''s controversial adaptation of Thomas Otway''s Venice Presever''d in October 1795.

This volume contains a wealth of contextual materials, including contemporary reviews, portraits, advertisements, and cast lists. By privileging event over publication, this collection aims to encourage an understanding of performance that emphasizes the immediacy - and changeability - of the theatrical repertoire during the long eighteenth century.

Offering an invaluable insight into the performance culture of the time, The Routledge Anthology of Restoration and Eighteenth-Century Performance is a unique, much-needed resource for students of theatre.

The Routledge Anthology of Restoration and Eighteenth-Century Performance brings together a selection of particularly memorable performances, beginning with Nell Gwyn in a 1668 staging of Secret Love, and moving chronologically towards the final performance of John Philip Kemble''s controversial adaptation of Thomas Otway''s Venice Presever''d in October 1795.

This volume contains a wealth of contextual materials, including contemporary reviews, portraits, advertisements, and cast lists. By privileging event over publication, this collection aims to encourage an understanding of performance that emphasizes the immediacy - and changeability - of the theatrical repertoire during the long eighteenth century.

Offering an invaluable insight into the performance culture of the time, The Routledge Anthology of Restoration and Eighteenth-Century Performance is a unique, much-needed resource for students of theatre.

In the eighteenth century sport as we know it emerged as a definable social activity. Hunting and other country sports became the source of significant innovations in visual art; racing and boxing generated important subcultures; and sport’s impact on good health permeated medical, historical, and philosophical writings.

Sporting Cultures, 1650–1850 is a collection of essays that charts important developments in the study of sport in the eighteenth century. Editors Daniel O’Quinn and Alexis Tadié have gathered together an array of European and North American scholars to critically examine the educational, political, and medical contexts that separated sports from other physical activities. The volume reveals how the mediation of sporting activities, through match reports, pictures, and players, transcended the field of aristocratic patronage and gave rise to the social and economic forces we now associate with sports.  In Sporting Cultures, 1650–1850 , O’Quinn and Tadié successfully lay the groundwork for future research on the complex intersection of power, pleasure, and representation in sports culture.

In the eighteenth century sport as we know it emerged as a definable social activity. Hunting and other country sports became the source of significant innovations in visual art; racing and boxing generated important subcultures; and sport’s impact on good health permeated medical, historical, and philosophical writings.

Sporting Cultures, 1650–1850 is a collection of essays that charts important developments in the study of sport in the eighteenth century. Editors Daniel O’Quinn and Alexis Tadié have gathered together an array of European and North American scholars to critically examine the educational, political, and medical contexts that separated sports from other physical activities. The volume reveals how the mediation of sporting activities, through match reports, pictures, and players, transcended the field of aristocratic patronage and gave rise to the social and economic forces we now associate with sports.  In Sporting Cultures, 1650–1850 , O’Quinn and Tadié successfully lay the groundwork for future research on the complex intersection of power, pleasure, and representation in sports culture.

In Corrosive Solace, Daniel O’Quinn argues that the loss of the American colonies instantiated a complex reorganization in sociability and politics in the British metropole that has had long-lasting effects on British national and imperial culture, which can be seen and analyzed within its performative repertoire. He examines how the analysis of feeling or affect can be deployed to address the inchoate causal relation between historical events and their mediation. In this sense, Corrosive Solace’s goals are twofold: first, to outline the methodologies necessary for dealing with the affective recognition of historical crisis; and second, to make the historically familiar strange again, and thus make visible key avenues for discussion that have remained dormant. Both of these objectives turn on recognition: How do we theorize the implicit affective recognition of crisis in a distant historical moment? And how do we recognize what we, in our present moment, cannot discern?Corrosive Solace addresses this complex cultural reorientation by attending less to “new” cultural products than to the theoretical and historical problems posed by looking at the transformation of “old” plays and modes of performance. These “old” plays—Shakespeare, post-Restoration comedy and she-tragedy—were a vital plank of the cultural patrimony, so much of O’Quinn’s analysis lies in how tradition was recovered and redirected to meet urgent social and political needs. Across the arc of Corrosive Solace, he tracks how the loss of the American War forced Britons to refashion the repertoire of cultural signs and social dispositions that had subtended its first empire in the Atlantic world in a way more suited to its emergent empire in South Asia.