The Stage and the Page: London's Whole Show in the Eighteenth-Century TheatreGeorge Winchester Stone Jr. The Stage and the Page: London's "Whole Show" in the Eighteenth-Century Theatre edited by Geo. Winchester Stone, Jr. reconceives eighteenth-century drama as a seamless interplay of script and spectacle. Refusing the false choice between literary text and stage event, this collection shows how London audiences experienced an evening as an integrated sequence—overture, prologue, mainpiece, entr'acte song and dance, epilogue, afterpiece, and final music. Essays by leading scholars map the century's tastes and institutions: Robert D. Hume reclassifies comedy into five performative modes and periodizes shifting fashions; John Loftis reads *Tancred and Sigismunda* against the waning drama of political opposition; Leo Hughes restores the centrality of afterpieces to audience pleasure. Together they model a criticism calibrated to box-office realities, actor personalities, and the rhythms of the patent theatres. Infrastructure and embodiment receive equal weight. Donald C. Mullin links playhouse architecture to production choices, while Ralph G. Allen's account of "irrational entertainment" uncovers the sensorium of scenic effects. Four music-centered chapters (Stone, Knapp, Dircks, Lincoln) demonstrate how songs, burlettas, and mythic settings—from The Enchanter to Orpheus—suffused Garrick's stage with sound, with companion audio illustrations that animate their arguments. Practice-based studies by Charles H. Shattuck (promptbooks), Shirley Wynne (gesture and dance), and Bernard Beckerman (norms for performance-aware criticism) translate ephemeral staging back onto the page. Richly interdisciplinary and methodologically eclectic, The Stage and the Page equips scholars, directors, dramaturgs, and music historians to reconstruct London's "whole show," restoring the eighteenth century's theater as a living art where reading and performance illuminate each other. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1981. Many titles in the Voices Revived program are also newly available as ebooks, offered at a discounted price to support wider access to scholarly work. |
Contents
| 3 | |
Editors Headnote | 33 |
Part II | 71 |
Editors Headnote | 90 |
Theatrical Music for Simple Enjoyment and Aesthetic | 113 |
Garricks FailSafe Musical Venture A Peep Behind | 136 |
Barthelemons Setting of Garricks Orpheus | 148 |
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actors afterpiece appear audience Azor ballad opera ballet Barnwell Barthelemon Beggar's Opera burletta century characters Charles Christmas Tale Cibber comédie larmoyante comic composer Coriolanus Covent Garden critical dance dancer David Garrick dialogue drama dramatists Drury Lane effect eighteenth eighteenth-century comedy Elmerick England English stage entertainment essay farce forestage French George Hamlet hero humane comedy Italian burletta John John Philip Kemble Kemble King Kitty Clive Lady Lear Lillo London London Stage Loutherbourg ment moral Orpheus pantomime passion patent theatres performance piece play playhouse plot political popular Prince production Professor promptbook Restoration Restoration Comedy revival Rhodope satire scene scenery scenic season Selima sentimental serious comedy Shakespeare Sheridan Siffredi singing songs spectacle style success Tancred Tancred and Sigismunda taste Theatre of Visitation Theatre Structure theatrical music Thomas Thomson tion tradition tragedy University Press vols Walpole Weaver William write wrote York young Zoreb