Lilla Maria Crisafulli – författare

As theatre and drama of the Romantic Period undergo a critical reassessment among scholars internationally, the contributions of women as playwrights, actresses, and managers are also being revalued. This volume, which brings together leading British, North American, and Italian critics, is a crucial step towards reclaiming the importance of women's dramatic and theatrical activities during the period. Writing for the theatre implied assuming a public role, a hazardous undertaking for women who, especially after the French Revolution, were assigned to the private, primarily domestic, sphere. As the contributors examine the covert strategies women used to become full participants in the public theatre, they shed light on the issue of women's agency, expressed both through the writing of highly politicized or ethicized drama, as in the case of Elizabeth Inchbald or Joanna Baillie, and through women's professional practice as theatre managers and stage producers, as in the case of Elizabeth Vestris and Jane Scott. Among the topics considered are women's history plays, domesticity, ethics and sexuality in women's closet drama, the politics of drama and performance, and the role of women as managers and producers. Specialists in performance studies, Romantic Period drama, and women's writing will find the essays both challenging and inspiring.

As theatre and drama of the Romantic Period undergo a critical reassessment among scholars internationally, the contributions of women as playwrights, actresses, and managers are also being revalued. This volume, which brings together leading British, North American, and Italian critics, is a crucial step towards reclaiming the importance of women's dramatic and theatrical activities during the period. Writing for the theatre implied assuming a public role, a hazardous undertaking for women who, especially after the French Revolution, were assigned to the private, primarily domestic, sphere. As the contributors examine the covert strategies women used to become full participants in the public theatre, they shed light on the issue of women's agency, expressed both through the writing of highly politicized or ethicized drama, as in the case of Elizabeth Inchbald or Joanna Baillie, and through women's professional practice as theatre managers and stage producers, as in the case of Elizabeth Vestris and Jane Scott. Among the topics considered are women's history plays, domesticity, ethics and sexuality in women's closet drama, the politics of drama and performance, and the role of women as managers and producers. Specialists in performance studies, Romantic Period drama, and women's writing will find the essays both challenging and inspiring.

As theatre and drama of the Romantic Period undergo a critical reassessment among scholars internationally, the contributions of women as playwrights, actresses, and managers are also being revalued. This volume, which brings together leading British, North American, and Italian critics, is a crucial step towards reclaiming the importance of women''s dramatic and theatrical activities during the period. Writing for the theatre implied assuming a public role, a hazardous undertaking for women who, especially after the French Revolution, were assigned to the private, primarily domestic, sphere. As the contributors examine the covert strategies women used to become full participants in the public theatre, they shed light on the issue of women''s agency, expressed both through the writing of highly politicized or ethicized drama, as in the case of Elizabeth Inchbald or Joanna Baillie, and through women''s professional practice as theatre managers and stage producers, as in the case of Elizabeth Vestris and Jane Scott. Among the topics considered are women''s history plays, domesticity, ethics and sexuality in women''s closet drama, the politics of drama and performance, and the role of women as managers and producers. Specialists in performance studies, Romantic Period drama, and women''s writing will find the essays both challenging and inspiring.

As theatre and drama of the Romantic Period undergo a critical reassessment among scholars internationally, the contributions of women as playwrights, actresses, and managers are also being revalued. This volume, which brings together leading British, North American, and Italian critics, is a crucial step towards reclaiming the importance of women''s dramatic and theatrical activities during the period. Writing for the theatre implied assuming a public role, a hazardous undertaking for women who, especially after the French Revolution, were assigned to the private, primarily domestic, sphere. As the contributors examine the covert strategies women used to become full participants in the public theatre, they shed light on the issue of women''s agency, expressed both through the writing of highly politicized or ethicized drama, as in the case of Elizabeth Inchbald or Joanna Baillie, and through women''s professional practice as theatre managers and stage producers, as in the case of Elizabeth Vestris and Jane Scott. Among the topics considered are women''s history plays, domesticity, ethics and sexuality in women''s closet drama, the politics of drama and performance, and the role of women as managers and producers. Specialists in performance studies, Romantic Period drama, and women''s writing will find the essays both challenging and inspiring.

This valuable volume adopts a multi-perspective approach to the historical and dramatic figure of Richard III during the "long" Romantic period. It takes into consideration his controversial reputation among historians of the time, as well as his changing place within the critical literature. It likewise examines nineteenth-century adaptations of Shakespeare's play. Above all, Nicoletta Caputo’s innovative book discusses contrasting stage interpretations of Richard as dramatis persona, in the performances of such iconic players as David Garrick, George Frederick Cooke and Edmund Kean. The vivid overall picture that emerges of Richard III is that of a figure who exerts an almost inexhaustible fascination on the Romantics. Nicoletta Caputo persuasively illustrates ̶ on the basis of abundant documentary evidence ̶ the surprising degree to which Richard is to be found at the very centre of the literary, theatrical, ideological and ethical debates, over a period of several decades. Such extraordinary centrality in turn sheds light on Romantic culture at large, and in particular on its understanding of Shakespeare, grounded above all in character analysis, often of a moral and political nature. The Romantics tended to reify Shakespeare's villainous king, extrapolating him from his dramatic context, and turning him into an autonomous, virtually living person.(Keir Elam, University of Bologna)

When the first issue of The Liberal was published on 10 October 1822, the periodical was largely dismissed by the British press as a political project conceived by well-known and controversial figures (L. Hunt, P.B. Shelley, Lord Byron, W. Hazlitt, and Mary Shelley). They were all members of the so-called “Pisan circle”, an Anglo-Italian community of liberal writers aspiring to cultural and social reform. Even though The Liberal was addressed to an English public, it was entirely conceived in Italy, a country which had become a symbolic as well as a geographical space, playing a crucial role in defining the journal’s aims and themes. This collection of essays examines the short and difficult life of the periodical, reassessing its cultural politics, its relationship to Italy, the controversial British reception, and its relevance to Romantic (and indeed contemporary) debates on Liberalism.

This volume presents a selection of essays by established Italian and international scholars in the field of Romantic drama. It is divided into four main sections: 1) Dramatic Theory and Practice; 2) On the Romantic Stage: History, Arts, and Acting; 3) Interaction of Genres: from Fiction to Drama; 4) The Romantics’ Debate on Theatre and Drama: a Selected Anthology. The crucial area of debate these essays address is the way in which the problem of the dramatic representation of the self becomes in Romantic drama the very centre of reflection on the constitution of the modern subject. Each essay explores one or more aspects of the formation of modern subjectivity through dramatic representation of the self and through critical enquiry into the modes of that representation. The first and the fourth sections discuss the complex interaction between the theoretical questions that animated the debate around the Romantic theatre and the multifarious and often unruly performance practices of the time. The other two sections deal with the many and diverse ways in which Romantic drama engaged with and incorporated other artistic genres such as painting, performing arts, music, and the novel.