Gothic Plays and American Society, 1794-1830
In the aftermath of the American Revolution, the production of Gothic plays brought into sharp focus the social turmoil of the critical period between 1794 and 1830. These plays, considered the earliest form of melodrama, enhanced the repertories of the first permanent theatres in the United States.
This first full-length study of early American Gothic drama examines the relationship between Gothic plays and the developing society in which they flourished. Beginning with an introduction to the rise of Gothic fiction and drama, it discusses topics ranging from the novelty of American artistic talent and critical opinions of Gothic melodramas to the representation of women in the dramas as compared with the reality of the contemporary female plight. The history of the plays presented here reflects the conflicts surrounding American artistic endeavors and the artists who made American drama distinct from all others.
What people are saying - Write a review
We haven't found any reviews in the usual places.
Dramas Theatres and American Society
Productions of Gothic Plays
13 other sections not shown
actors actresses Adeline American Gothic American plays American playwrights American stage American Theatre American version Angela atres audiences behavior Bertram Bluebeard Boaden Boston Weekly Magazine boxes British play Carmelite Castle Spectre Chestnut Street Theatre cities critics decade depicted Despite Dramatic Censor erary Gazette exhibited father Fatima featured Female Gothic Fontainville Abbey Fordyce Fountainville Forest gallery Gothic dramas Gothic fiction Gothic heroines Gothic literature Gothic novels Gothic plays heroines in Gothic Hodgkinson Iron Chest John John Blake White Ladies males Marguerette Marquis Matthew Gregory Lewis Melmoth melodramas Mirror of Taste moral mother nineteenth century Odell Older heroes Oldmixon particularly patrons pence performed period Philadelphia productions of Gothic prostitutes Raymond and Agnes Readex Ribbemont roles sexual Sicilian Romance special effects spectacle stage directions Street Theatre supernatural effects Taste and Dramatic theatrical centers theatrical managers tion villain virtue virtuous Whitlock William Dunlap woman Wood Daemon York Mirror young heroine