Laurence Senelick – författare

This collection of primary sources brings together a series of documents derived from archives, journals, newspapers, out-of-print books, memoirs, letters, and other written materials pertaining to the circus during the long nineteenth century (1789-1919). Historians concur that the ‘modern’ circus emerged in London in the late-eighteenth century, following the entrepreneurial initiatives of Philip Astley (1742-1814). It soon spread to Scotland, Ireland, France, Russia, Scandinavia, and other regions of Europe. Introduced to the United States by and English equestrian, John Bill Ricketts, in 1793, the modern circus transformed into a movable tent show by 1825. Following the Civil War and the development of railroad transport, the uniquely American circus transformed again into an ‘industrialized juggernaut’ capable of entertaining a large and diverse population from coast to coast. Transmitted across the globe through the British colonial project, the circus flourished in the colonies of Australasia, South Africa, South- and Southeast Asia, and was nourished by traditional performance forms of China, Japan, India, and Southeast Asia. The modern circus evolved through interaction with different geographies, socio-political contexts, new technologies, cultural heritage, and absorption of vernacular performance forms. Accompanied by extensive editorial commentary, and edited by an international team of scholars, this collection will be of great interest to students and researchers of circus studies, theatre and performance studies and cultural history.

This collection of primary sources brings together a series of documents derived from archives, journals, newspapers, out-of-print books, memoirs, letters, and other written materials pertaining to the circus during the long nineteenth century (1789-1919). Historians concur that the ‘modern’ circus emerged in London in the late-eighteenth century, following the entrepreneurial initiatives of Philip Astley (1742-1814). It soon spread to Scotland, Ireland, France, Russia, Scandinavia, and other regions of Europe. Introduced to the United States by and English equestrian, John Bill Ricketts, in 1793, the modern circus transformed into a movable tent show by 1825. Following the Civil War and the development of railroad transport, the uniquely American circus transformed again into an ‘industrialized juggernaut’ capable of entertaining a large and diverse population from coast to coast. Transmitted across the globe through the British colonial project, the circus flourished in the colonies of Australasia, South Africa, South- and Southeast Asia, and was nourished by traditional performance forms of China, Japan, India, and Southeast Asia. The modern circus evolved through interaction with different geographies, socio-political contexts, new technologies, cultural heritage, and absorption of vernacular performance forms. Accompanied by extensive editorial commentary, and edited by an international team of scholars, this collection will be of great interest to students and researchers of circus studies, theatre and performance studies and cultural history.

This volume makes available an international collection of plays, from Britain, the US, Germany, France and Russia, providing an essential and fascinating resource for anyone interested in the theatre culture of this period.Lovesick brings together six plays, each with individual introductions, including an author biography and a production history. The editor provides a contextual introduction to the volume offering valuable information about the ancestry of gay theatre and queer performance. The anthology reveals how ''sexual deviance'' made its way into the drama of this time, and also how homosexual playwrights used comic or lyrical devices in order to celebrate a ''superior sensibility''.

This volume makes available an international collection of plays, from Britain, the US, Germany, France and Russia, providing an essential and fascinating resource for anyone interested in the theatre culture of this period.Lovesick brings together six plays, each with individual introductions, including an author biography and a production history. The editor provides a contextual introduction to the volume offering valuable information about the ancestry of gay theatre and queer performance. The anthology reveals how ''sexual deviance'' made its way into the drama of this time, and also how homosexual playwrights used comic or lyrical devices in order to celebrate a ''superior sensibility''.

During its fifty year run, Theatre Arts Magazine was a bustling forum for the foremost names in the performing arts, including Stanislavski, Laurence Olivier, Lee Strasberg, John Gielgud and Shelley Winters. Renowned theatre historian Laurence Senelick has plundered its stunning archives to assemble a stellar collection of articles on every aspect of acting and theatrical life.