P. Holland – författare

What can the printed texts of plays from Shakespeare's time say about performance? How have printed plays been read and interpreted? This collection of essays considers the evidence of early modern printed plays and their histories of production and reception, examining a wide variety of cases, from early performance to the psychology of Hamlet.

This book looks at modes of performance and forms of theatre in Nineteenth-century Britain and Ireland. On subjects as varied as the vogue for fairy plays to the representation of economics to the work of a parliamentary committee in regulating theatres, the authors redefine what theatre and performance in the Nineteenth century might be.

This book looks at modes of performance and forms of theatre in Nineteenth-century Britain and Ireland. On subjects as varied as the vogue for fairy plays to the representation of economics to the work of a parliamentary committee in regulating theatres, the authors redefine what theatre and performance in the Nineteenth century might be.

`Mr Wycherley is universally allowed the first place among the English comic poets who have writ since Ben Jonson. His Plain-Dealer is the best comedy that ever was composed in any language.' Yet in spite of the extreme praise many of his contemporaries accorded to his work, William Wycherley (1641-1715) is now only remembered for one play, The Country Wife. Even though The Country Wife is frequently performed by both amateur and professional companies (including a production at the National Theatre in 1977), Wycherley's three other plays, Love in a Wood, The Gentleman Dancing-Master and The Plain-Dealer, are rarely read and even more rarely performed. But Wycherley's satire is as sharp now as ever and his revelation of the follies and crimes of his society is still both wickedly funny and savagely perceptive.

This book looks at modes of performance and forms of theatre in Nineteenth-century Britain and Ireland. On subjects as varied as the vogue for fairy plays to the representation of economics to the work of a parliamentary committee in regulating theatres, the authors redefine what theatre and performance in the Nineteenth century might be.

These essays present a wide-ranging interrogation of the practice of theatre history studies, raising questions of history and historiography; the bearing of national, sexual, and racial identity on the canons of theatre history; the limits of print and the history of non-textual forms of performance; the intersections between theatre and other forms of commodification; and even the work of performance at the borders of the human.

This collection brings together a group of distinguished and original theatre historians engaged in rethinking the nature of early modern theatre history as a discipline.