By Susan J. Owen
This 'Companion' illustrates the energy and variety of dramatic paintings 1660 to 1710. Twenty-five essays through major students within the box compile the simplest contemporary insights into the entire diversity of dramatic perform and innovation on the time.
• Introduces readers to the new growth in scholarship that has revitalised recovery drama
• Explores old and cultural contexts, genres of recovery drama, and key dramatists, between them Dryden and Behn
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Extra info for A Companion to Restoration Drama
Out of the Collier controversy, however, emerged Dennis's infinitely more academic brand of didactic criticism.
Ozell, 219). Back in the 1660s Pepys had regularly reported similar audience conduct. At one performance, of Beaumont and Fletcher's The Maid's Tragedy at the Bridges Street theatre on 18 February 1667, the diarist became so enthralled with Sir Charles Sedley's bantering with a masked lady that Pepys 'lost the pleasure of the play wholly, to which now and then Sir Ch. Sidlys exceptions against both words and pronouncing were very pretty'. Shadwell's A True Widow (1678, Dorset Garden) has a scene that takes place in a theatre, with audience members behaving obstreperously before and during a performance.
London: Eyre Methuen. Lewcock, Dawn (1993^4). 'Computer Analysis of Restoration Staging', Theatre Notebook 47, 20-9 and 141-56; 48, 103-15. Love, Harold (1980). ', Yearbook of English Studies 10, 2 1 ^ 4 . Milhous, Judith and Hume, Robert D. (1985). Producible Interpretation: Eight English Plays 1675-1707. Carbondale: Southern Illinois University Press. Muller, Frans (1993). 'Flying Dragons and Dancing Chairs at Dorset Garden: Staging Dioclesian', Theatre Notebook 47, 80-95. Muller-Van Santen, Julia Johanna Gertrud (1989).