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Books on the topic 'Georgian Theater'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

Ranger, Paul. The Georgian playhouses of Hampshire 1730-1830. [Winchester]: Hampshire County Council, 1996.

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2

Čʻxaiże, Alekʻsandre. Čʻemi cili saukune. Batʻumi: S.S. "Gamomcʻemloba Ačara", 1998.

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3

Baer, Marc. Theatre and disorder in late Georgian London. Oxford [England]: Clarendon Press, 1992.

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4

Ragussis, Michael. Theatrical nation: Jews and other outlandish Englishmen in Georgian Britain. Philadelphia: University of Pennsylvania Press, 2010.

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5

Theatrical nation: Jews and other outlandish Englishmen on the Georgian stage. Philadelphia: University of Pennsylvania Press, 2010.

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6

Čʻxikvišvili, Nino. Tʻamaši tʻamašis gareše. Tʻbilisi: "Merani", 2005.

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7

Kiknaże, Vasil. Sinamdvile da saxioba: Cerilebis krebuli. Tʻbilisi: Sakʻartʻvelos tʻeatris moġvacetʻa kavširi, 1990.

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8

Żveli kʻartʻuli tʻeatri da dramaturgia. 2nd ed. Tʻbilisi: Gamomcʻemloba "Universali", 2011.

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9

Leoniże, Giorgi. Giorgi Leoniże, 1899-1966. Tʻbilisi: Kʻartʻuli literaturis saxelmcipʻo muzeumis gamomcʻemloba "Literaturis matiane", 2000.

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10

Garaqaniże, Giorgi. Kʻartʻuli etʻnomusikis tʻeatri da misi sacqisebi. Tʻbilisi: Gamomcʻemloba "Petiti", 2008.

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11

Garaqaniże, Giorgi. Kʻartʻuli etʻnomusikis tʻeatri da misi sacqisebi. Tʻbilisi: Gamomcʻemloba "Petiti", 2008.

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12

Sanders, Kristi Casey. The Fox Theatre, Atlanta, Georgia: The memory maker. Edited by Atlanta Metropolitan Publishing. Atlanta, Ga: Atlanta Metropolitan Publishing, 2009.

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13

Rennison, Louise. Are these my basoomas I see before me?: Final confessions of Georgia Nicolson. New York: HarperTeen, 2009.

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14

Rennison, Louise. Are these my basoomas I see before me?: Final confessions of Georgia Nicolson. New York: HarperTeen, 2009.

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15

Rennison, Louise. Are these my basoomas I see before me?: Final confessions of Georgia Nicolson. New York: HarperTeen, 2009.

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16

Rennison, Louise. Are these my basoomas I see before me?: Final confessions of Georgia Nicolson. New York: HarperTeen, 2009.

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17

Wilson's cavalry corps: Union campaigns in the western theatre, October 1864 through spring 1865. Jefferson, N.C: McFarland & Co., 1998.

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18

Are these my basoomas I see before me?: Fab final confessions of Georgia Nicolson. Hammersmith, London: HarperCollins Children's Books, 2013.

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19

Care, New Jersey Legislature General Assembly Task Force on Child. Public hearing before General Assembly Task Force on Child Care to focus on identifying problems and issues relating to child care which can be addressed by the legislative and executive branches: February 14, 1991, Georgian Court College, Little Theatre, Lakewood, New Jersey. Trenton, N.J: The Committee, 1991.

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20

1942-, Thomas David, and Hare Arnold 1921-, eds. Restoration and Georgian England, 1660-1788. Cambridge [England]: Cambridge University Press, 1989.

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21

Worrall, David. Celebrity, Performance, Reception: British Georgian Theatre as Social Assemblage. Cambridge University Press, 2018.

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22

Celebrity, Performance, Reception: British Georgian Theatre As Social Assemblage. Cambridge University Press, 2013.

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23

Oxford Handbook of the Georgian Theatre 1737-1832. Oxford University Press, 2018.

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24

Stephanie, Pickford, ed. Behind the scenes: The hidden life of Georgian theatre, 1737-1784. London: Dr. Johnsson's House Trust, 2007.

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25

The Oxford Handbook of the Georgian Theatre 17371832 Oxford Handbooks of Literature. Oxford University Press, 2014.

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26

Russell, Gillian. Women, Sociability and Theatre in Georgian London. Cambridge University Press, 2010.

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27

Nodar Dumbażis nacarmoebebi scʻenasa da ekranze. Tʻbilisi: [Sakʻartʻvelos tʻeatris moġvacetʻa kavširi], 1998.

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28

Davis, Jim. Comic Acting and Portraiture in Late-Georgian and Regency England. Cambridge University Press, 2015.

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29

Davis, Jim. Comic Acting and Portraiture in Late-Georgian and Regency England. University of Cambridge ESOL Examinations, 2018.

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30

American Reference Books Annual 1995. Libraries Unlimited, 1995.

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31

Santor, Gefen Bar-On. Shakespeare in the Georgian Theatre. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199600304.013.002.

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32

Smith, Erin J. Dance and the Georgian Theatre. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199600304.013.008.

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33

Johnson, Odai. The Georgian Theatre in Colonial America. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199600304.013.024.

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34

Swindells, Julia, and David Francis Taylor, eds. The Oxford Handbook of the Georgian Theatre, 1737-1832. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199600304.001.0001.

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35

Sandhu, Angie. Enlightenment, Exclusion, and the Publics of the Georgian Theatre. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199600304.013.011.

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36

1953-, Hildy Franklin J., ed. New issues in the reconstruction of Shakespeare's theatre: Proceedings of the conference held at the University of Georgia, February 16-18, 1990. New York: P. Lang, 1990.

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37

Valladares, Susan. The Changing Theatrical Economy. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198812425.003.0012.

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This chapter brings Charles Dibdin the Younger centre stage, facilitating an assessment of longer-term changes in the late Georgian cultural economy. The focus is the decline of Dibdin’s management of Sadler’s Wells in the years after 1814. The theatre’s wartime success rested on its spectacular, patriotic, aquatic pantomimes, yet a combination of the tense postwar political climate, the changing social constituency of the area in which the theatre was situated, and an increasing disinclination towards the mixed performances the theatre offered all played a part in the losses the theatre sustained in the late 1810s. The author draws a parallel between the decline of Sadler’s Wells and Dibdin’s poetic romance Young Arthur (1819), which, while enthusiastically received by some, was too much of a ‘medley’ to satisfy others. In both the literary and theatrical fields, tastes were changing, leaving practitioners uncertain of their place in this new theatrical economy.

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38

New Issues in the Reconstruction of Shakespeare's Theatre: Proceedings of the Conference Held at the University of Georgia, February 16-18, 1990 (Artists and Issues in the Theatre). Peter Lang Pub Inc, 1991.

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39

Russell, Gillian. Women, Sociability and Theatre in Georgian London (Cambridge Studies in Romanticism). Cambridge University Press, 2007.

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40

Cox Jensen, Oskar, David Kennerley, and Ian Newman, eds. Charles Dibdin and Late Georgian Culture. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198812425.001.0001.

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Charles Dibdin (1745–1814) was one of the most popular and influential producers of late Georgian culture. The huge diversity of his work and career defies simple categorization. He was, often at one and the same time, an actor, lyricist, composer, singer-songwriter, comedian, theatre-manager, journalist, and author of novels, historical works, polemical pamphlets, and guides to musical education. Consequently, he is important to many different fields for often quite dissimilar reasons. This means that a sense of his overall accomplishments—never mind the powerful reverberations of his influence—across numerous areas and in different periods may only truly be appreciated from the multiple perspectives that an interdisciplinary collaboration can offer. The chief aim of this volume is to illuminate the breadth and depth of Dibdin’s impact, and in the process offer fresh insights into previously hidden aspects of late Georgian culture. Dibdin’s importance lies in his ability to make visible the connections between various kinds of cultural production; he provides a model for thinking about late Georgian culture as a system of interconnected parts. This book illustrates the variety of Dibdin’s cultural output as characteristic of late-eighteenth-century entertainment, while also addressing the challenge mounted by specialization in the early nineteenth century. What emerges is not the elimination of miscellany, but rather the establishment of new cultural hierarchies in which a specialized elite culture increasingly defined itself against a continuing and vibrant culture of miscellany.

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41

Cassin-Scott, Jack. Costumes and Settings for Historical Plays: The Georgian Period. Players Pr, 2008.

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42

Beall, Curtis. Memoirs of a Marine Dawg: From Rose Bowl to Pacific Theater. Indigo Publishing, 2006.

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43

The Incomparable Hester Santlow: A Dancer-actress on the Georgian Stage (Performance in the Long Eighteenth Century: Studies in Theatre, Music, Dance). Ashgate Pub Co, 2008.

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44

Grand Opera House, London, Ont., programme: Season 1898-9, Saturday Nov. 12th, 1898, matinee and night, second annual tour of Mr. David Higgins, supported by Miss Georgia Waldron and a select company of players, in the romantic southern play entitled At Piney Ridge, by David Higgins. [London, Ont.?: s.n., 1986.

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45

Wilsons Cavalry Corps: Union Campaigns in the Western Theatre, October 1864 Through Spring 1865. 2nd ed. McFarland & Company, 2006.

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46

Rennison, Louise. Are These My Basoomas I See Before Me? (Confessions of Georgia Nicolson). HarperTeen, 2010.

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