The Dramas Patrons: A Study of the Eighteenth-Century London Audience

ISBN 10: 0292741170 / ISBN 13: 9780292741171
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The Dramas Patrons: A Study of the Eighteenth-Century London Audience. N° de ref. de la librería

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Sinopsis:

The drama's laws,
the drama's patrons give,
For we that live to please,
must please to live.
?Samuel Johnson, 1747

Democratic ferment, responsible for political explosions in the seventeenth century and expanded power in the eighteenth, affected all phases of English life. The theatre reflected these forces in the content of the plays of the period and in an increased awareness among playgoers that the theatre "must please to live."

Drawing from a wealth of amusing and informative contemporary accounts, Leo Hughes presents abundant evidence that the theatre-going public proved zealous, and sometimes even unruly, in asserting its role and rights. He describes numerous species of individual pest?the box-lobby saunterers, the vizard masks (ladies of uncertain virtue), the catcallers, and the weeping sentimentalists. Protest demonstrations of various interest groups, such as footmen asserting their rights to sit in the upper gallery, reflect the behavior of the audience as a whole?an audience that Alexander Pope described as "the manyheaded monster of the pit."

Hughes analyzes the changes in the audience's taste through the long span from Dryden's day to Sheridan's. He illustrates the decline in taste from the sophisticated, if bawdy, comedy of the Restoration Period to the sentimentalism and empty show of later decades. He attributes the increased emphasis on sentiment and spectacle to audience influence and describes the effects of audience demands on managers, playwrights, and players. He describes in detail the mixed assembly that frequented the theatre during this period and the greatly enlarged theatres that were built to accommodate it.

Hughes concludes that it was the English people's basic love of liberty that allowed them to accept audience disruptions considered intolerable by foreign visitors and that the drama's patrons greatly influenced the quality of theatrical production during this long period.

Biografía del autor: Leo Hughes (1908?1995) was Professor of English at the University of Texas at Austin.

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Título: The Dramas Patrons: A Study of the ...
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Descripción University of Texas Press, United States, 2011. Paperback. Estado de conservación: New. 226 x 152 mm. Language: English . Brand New Book ***** Print on Demand *****.The drama s laws, the drama s patrons give, For we that live to please, must please to live. -Samuel Johnson, 1747 Democratic ferment, responsible for political explosions in the seventeenth century and expanded power in the eighteenth, affected all phases of English life. The theatre reflected these forces in the content of the plays of the period and in an increased awareness among playgoers that the theatre must please to live. Drawing from a wealth of amusing and informative contemporary accounts, Leo Hughes presents abundant evidence that the theatre-going public proved zealous, and sometimes even unruly, in asserting its role and rights. He describes numerous species of individual pest#8212the box-lobby saunterers, the vizard masks (ladies of uncertain virtue), the catcallers, and the weeping sentimentalists. Protest demonstrations of various interest groups, such as footmen asserting their rights to sit in the upper gallery, reflect the behavior of the audience as a whole#8212an audience that Alexander Pope described as the manyheaded monster of the pit. Hughes analyzes the changes in the audience s taste through the long span from Dryden s day to Sheridan s. He illustrates the decline in taste from the sophisticated, if bawdy, comedy of the Restoration Period to the sentimentalism and empty show of later decades. He attributes the increased emphasis on sentiment and spectacle to audience influence and describes the effects of audience demands on managers, playwrights, and players. He describes in detail the mixed assembly that frequented the theatre during this period and the greatly enlarged theatres that were built to accommodate it. Hughes concludes that it was the English people s basic love of liberty that allowed them to accept audience disruptions considered intolerable by foreign visitors and that the drama s patrons greatly influenced the quality of theatrical production during this long period. Nº de ref. de la librería APC9780292741171

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Descripción University of Texas Press, United States, 2011. Paperback. Estado de conservación: New. 226 x 152 mm. Language: English . Brand New Book ***** Print on Demand *****. The drama s laws, the drama s patrons give, For we that live to please, must please to live. -Samuel Johnson, 1747 Democratic ferment, responsible for political explosions in the seventeenth century and expanded power in the eighteenth, affected all phases of English life. The theatre reflected these forces in the content of the plays of the period and in an increased awareness among playgoers that the theatre must please to live. Drawing from a wealth of amusing and informative contemporary accounts, Leo Hughes presents abundant evidence that the theatre-going public proved zealous, and sometimes even unruly, in asserting its role and rights. He describes numerous species of individual pest#8212the box-lobby saunterers, the vizard masks (ladies of uncertain virtue), the catcallers, and the weeping sentimentalists. Protest demonstrations of various interest groups, such as footmen asserting their rights to sit in the upper gallery, reflect the behavior of the audience as a whole#8212an audience that Alexander Pope described as the manyheaded monster of the pit. Hughes analyzes the changes in the audience s taste through the long span from Dryden s day to Sheridan s. He illustrates the decline in taste from the sophisticated, if bawdy, comedy of the Restoration Period to the sentimentalism and empty show of later decades. He attributes the increased emphasis on sentiment and spectacle to audience influence and describes the effects of audience demands on managers, playwrights, and players. He describes in detail the mixed assembly that frequented the theatre during this period and the greatly enlarged theatres that were built to accommodate it. Hughes concludes that it was the English people s basic love of liberty that allowed them to accept audience disruptions considered intolerable by foreign visitors and that the drama s patrons greatly influenced the quality of theatrical production during this long period. Nº de ref. de la librería APC9780292741171

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Descripción University of Texas Press, 2011. Paperback. Estado de conservación: Brand New. 218 pages. 9.00x6.25x0.50 inches. In Stock. Nº de ref. de la librería x-0292741170

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Descripción University of Texas Press. Paperback. Estado de conservación: New. Paperback. 218 pages. Dimensions: 8.9in. x 6.0in. x 0.6in.The dramas laws, the dramas patrons give, For we that live to please, must please to live. Samuel Johnson, 1747 Democratic ferment, responsible for political explosions in the seventeenth century and expanded power in the eighteenth, affected all phases of English life. The theatre reflected these forces in the content of the plays of the period and in an increased awareness among playgoers that the theatre must please to live. Drawing from a wealth of amusing and informative contemporary accounts, Leo Hughes presents abundant evidence that the theatre-going public proved zealous, and sometimes even unruly, in asserting its role and rights. He describes numerous species of individual pest and 8212the box-lobby saunterers, the vizard masks (ladies of uncertain virtue), the catcallers, and the weeping sentimentalists. Protest demonstrations of various interest groups, such as footmen asserting their rights to sit in the upper gallery, reflect the behavior of the audience as a whole and 8212an audience that Alexander Pope described as the manyheaded monster of the pit. Hughes analyzes the changes in the audiences taste through the long span from Drydens day to Sheridans. He illustrates the decline in taste from the sophisticated, if bawdy, comedy of the Restoration Period to the sentimentalism and empty show of later decades. He attributes the increased emphasis on sentiment and spectacle to audience influence and describes the effects of audience demands on managers, playwrights, and players. He describes in detail the mixed assembly that frequented the theatre during this period and the greatly enlarged theatres that were built to accommodate it. Hughes concludes that it was the English peoples basic love of liberty that allowed them to accept audience disruptions considered intolerable by foreign visitors and that the dramas patrons greatly influenced the quality of theatrical production during this long period. This item ships from multiple locations. Your book may arrive from Roseburg,OR, La Vergne,TN. Paperback. Nº de ref. de la librería 9780292741171

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