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Journal articles on the topic 'Georgian Theater'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

Darchashvili, Manana. "Georgian experience in the field of education and cultural policy: the example of the first democratic republic of Georgia in the years 1918 -1921." Journal of Education Culture and Society 12, no. 1 (June 17, 2021): 520–29. http://dx.doi.org/10.15503/jecs2021.1.520.529.

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Aim. The paper aims to study and present the issue of Georgian education, analyze it chronologically and thematically based on past experience. The paper deals with the period of the First Republic of Georgia, 1918-1921, and highlights the place of education and culture in Georgian politics. Moreover, the paper is focused on the connections of modern Georgian politics and the centuries-old traditional heritage and its transformation into the present reality. Method. The paper is presented based on a number of researched documents, empirical material, scientific research papers, monographs, analysis of government documents, historical-comparative method. Result. The paper presents the reality of the first democratic republic in Georgia in 1918-1921, the effective steps of the state for the development of proper education and cultural policy, and its introduction and development in practice. Conclusion. Several empirical materials prove that during the period of the First Republic of Georgia (1918-1921), despite the difficult political situation in Georgia, education in Georgia, with the support of the government and due to the active and creative work of representatives of such field as education, literature, theater, music, cinema, and science. were well developed. This issue is part of the country's internal policy, which is important and relevant today.

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2

Carlson, Julie A. "That “Fine Word” Illegitimate: Children in Late Georgian Theater." Studies in Romanticism 54, no. 2 (2015): 187–209. http://dx.doi.org/10.1353/srm.2015.0022.

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3

Karr, David. "“Thoughts that Flash like Lightning”: Thomas Holcroft, Radical Theater, and the Production of Meaning in 1790s London." Journal of British Studies 40, no. 3 (July 2001): 324–56. http://dx.doi.org/10.1086/386246.

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During the 1790s, political speech in London's public spaces and commercial sites of leisure came under intense governmental surveillance. Fearing revolutionary infection from across the channel in France, the Pitt ministry sent spies into popular organizations such as the London Corresponding Society and turned more attention to other sites as well, including coffeehouses, taverns, debating-club rooms, and the street. Recently, historians too have explored the ways in which radicals manipulated the ludic vocabularies of urban sociability to critique the regime, protest persecution, and argue for reform. In this article I address a site that figured prominently as a place for radical speech in the 1790s: the Theatre Royal at Covent Garden. Although it was a site whose content was strictly regulated by the state through the office of the Examiner of Plays, the royal theater was, like other eighteenth-century theaters, a place where performances multiplied: viewers watched the play, but in the well-lit and noisy pit, boxes, and galleries, they watched other viewers intently. All were engaged in a complex process of performance, reception, and counterperformance. Indeed, as scholars have shown, theater audiences in late Georgian London were highly skilled at appropriating a theatrical grammar by which to demand their perceived rights as English subjects. Such strategies revealed the potency of theatrical representation in a society where, as Gillian Russell notes, “performance, display and spectatorship were essential components of the social mechanism.”

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4

Elbuzdukaeva, Tamara Umarovna. "THE DEVELOPMENT OF THEATER IN THE CHECHENO-INGUSH ASSR IN THE 40―60S’ OF THE XX CENTURY." History, Archeology and Ethnography of the Caucasus 15, no. 1 (March 19, 2019): 37–46. http://dx.doi.org/10.32653/ch15137-46.

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The selection of the topic for publication is brought into focus by the decree of the President of the Russian Federation on the announcement of 2019 as the Year of Theater, as well as preparation for the celebration of the 75th anniversary of the Victory over Nazi Germany. The relevance of the choice of theatrical culture of the Chechen Republic in the object of study is also related to its lack of information on this topic. The study analyzes the activities of republican theaters in military conditions; reconstruction of the basic principles and methods of functioning of the Chechen-Ingush theaters in the years of the restoration of autonomy and the “ottepel” (thaw) of the 1960s’.In the years of the Great Patriotic War, the Chechen-Ingush Theater was rebuilt in a military manner and confided to barracks. The propaganda teams that spoke in all corners of the republic, in hospitals and military units, in field camps and at enterprises raised the fighting spirit of the soldiers. Many artists of the republic went to the front and fought against the enemy in arms.The development of the Chechen-Ingush culture in the second half of the 1950s’ – 1960s’ of the XX century occurred in the conditions of democratization of life of the Soviet society, the restoration of the republic’s autonomy, the atmosphere of freedom of creativity. In the mid-1960s’, with the arrival of students of the academic M. Soltsayev and R. Khakishev’s Leningrad school, the repertoire of the Chechen-Ingush theater is replenished with works of heroic romance and high poetry. The performances of Russian, Georgian, Azerbaijani, Ossetian, Balkarian, Dagestan and other authors appear. In the 60s’ of the XX century, Chechen-Ingush Theater was among the ten best national theaters of the Soviet Union.The methodological basis of the research is the dialectical approach, which allowed studying the theatrical art of the Chechen-Ingush ASSR on the principles of historicism, objectivity and comprehensive study of the subject. The logical method made it possible to analyze the sources, to establish the degree of knowledge of the problem in the national historiography, to determine the purpose and objectives. With the help of the historical-genetic method, the theatrical life of the republic during the war, the restoration of autonomy and the “ottepel” of the 1960s’ is revealed.

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5

Erman, Uri. "The Operatic Voice of Leoni the Jew: Between the Synagogue and the Theater in Late Georgian Britain." Journal of British Studies 56, no. 2 (March 31, 2017): 295–321. http://dx.doi.org/10.1017/jbr.2017.3.

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AbstractMichael Leoni, a leading singer in late eighteenth-century London, became famous for his role in Richard Brinsley Sheridan's anti-Jewish operaThe Duenna. He was discovered, however, at the Jewish synagogue, where his singing enthralled non-Jews in the early 1770s. Tracing Leoni's public reception, this article argues that the performative effect of his singing had a multifaceted relation to his audience's psychology of prejudice, serving to both reiterate and reconfigure a variety of preconceptions regarding the Jews. Leoni's intervention through operatic singing was particularly significant––a powerful, bodily manifestation that was capable of transforming listeners while exhibiting the deep acculturation of the singer himself. The ambivalence triggered by his performances would go on to define the public reception of other Jewish singers, particularly that of Leoni's protégé, John Braham, Britain's leading tenor in the early nineteenth century. Ultimately, the experience of these Jews' performances could not be easily deconstructed, as the Jewish performers' voices were emanating from within written, sometimes canonical, musical works. This representational impasse gave rise to a public discourse intent on deciphering their Jewishness, raising questions of interpretation, intention, and confession.

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6

Jordan, Gerald, and Nicholas Rogers. "Admirals as Heroes: Patriotism and Liberty in Hanoverian England." Journal of British Studies 28, no. 3 (July 1989): 201–24. http://dx.doi.org/10.1086/385935.

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In recent years historians have significantly broadened the parameters of popular politics in the eighteenth century to include the ceremonial and associational aspects of political life, what might be aptly described as popular political culture. Whereas the subject of popular politics was conventionally confined to the programmatic campaigns of post-1760 radicals and to the crucial but episodic phenomenon of popular disturbance, historians have become increasingly attentive to the anniversaries, thanksgivings, processions, and parades—to the realm of symbolism and ritual—that were very much a part of Georgian society. This cultural perspective has radically revised our notion of the “popular,” which can no longer be consigned unproblematically to the actions and aspirations of the subaltern classes but to the complex interplay of all groups that had a stake in the extraparliamentary terrain. It has also broadened our notion of the “political” beyond the confines of Parliament, the hustings, and even the press to include the theater of the street and the marketplace with their balladry, pageantry, and iconography, both ribald and solemn.Within this context, the theme of the admiral-as-hero in Georgian society will be explored by focusing on Admiral Edward Vernon, the most popular admiral of the mid-eighteenth century, and Horatio Nelson, whose feats and flamboyance are better known. Of particular interest is the way in which their popularity was ideologically constructed and exploited at home. This might seem an unorthodox position to take. Naval biographers have assumed that the popularity of admirals flowed naturally and spontaneously from their spectacular victories and exemplary feats of valor. This may be taken as a truism. But it does not entirely explain their appeal.

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7

Hill, Rosemary. "Reformation to Millennium: Pugin's Contrasts in the History of English Thought." Journal of the Society of Architectural Historians 58, no. 1 (March 1, 1999): 26–41. http://dx.doi.org/10.2307/991435.

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Pugin's Contrasts of 1836 was the book that marked the turning point of the Gothic Revival and the end of the Georgian age. It also launched its author's career as an apologist for the moral and religious value of architecture. The much modified second edition of 1841 has assumed a greater importance for historians. It was the first edition, however, that impressed contemporaries and made Pugin's name. This essay looks at the process by which the book as it appeared in 1836 was composed, including the first, previously unpublished, scheme of 1833. It also examines its social and intellectual context. It suggest that Contrasts marked the meeting of two currents of thought in which Pugin had been steeped since childhood: the English antiquarian tradition, which was, from the Reformation itself, deeply imbued with Catholic sympathy, and the Romantic millenarianism of the 1830s, which determined the form that Contrasts eventually took. It also suggests that Pugin's early life, his contact with the theories of the Picturesque, with the theater and popular journalism, as well as the influence of his mother, all played a greater part than has been thought in the composition of Contrasts.

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8

Occheli, Vera. "Польская драматургия рубежа XIX–XX веков на сцене грузинского театра." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 51, no. 2 (August 16, 2021): 165–86. http://dx.doi.org/10.36770/bp.606.

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The article presents findings based on the materials of the Archives of the State Theatre Museum of Georgia and theatrical reviews published in the Georgian periodical press of the designated time. The obtained data allowed to draw a conclusion about the wide popularity of Polish drama on the stages of Tiflis and Kutaisi theatres. Polish drama attracted the audience not only with its high artistic skill, but also with the desire to get acquainted with the Polish theatre system, its ability to pose and solve important life problems. Plays by Stanislaw Przybyszewski, Jerzy Żuławski, Gabriela Zapolska, Michał Bałucki and others were staged in Georgian theatres. The dramatization of the novel Quo vadis? by Henryk Sienkewicz was particularly recognized among the Georgian public. The article also points to the great interest of the Georgian audience in modern Polish drama, especially the plays of Sławomir Mrożek.

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9

CAULFIELD, MARY P. "Inseparable and No Longer Subsequent: The Relocation and Representation of Women in Irish Theatre Practices." Theatre Research International 36, no. 3 (August 30, 2011): 276–77. http://dx.doi.org/10.1017/s0307883311000514.

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Women as playwrights, directors, designers and actors have played an indisputably integral part in cultivating the theatrical landscapes of Ireland, but their work, however, has largely been overlooked. That said, this is not a new lament: the last twenty years of Irish theatre scholarship have sought to redress this gender imbalance by looking to women's involvement in the ‘imagining’ of the Irish nation. Colm Tóibín's Lady Gregory's Toothbrush (Lilliput Press, 2002) famously confirmed Augusta Gregory's co-authorship (with W. B. Yeats) of Kathleen ni Houlihan (1902). C. L. Innes's widely known Women and Nation in Irish Literature and Society, 1880–1935 (The University of Georgia Press, 1993), shed light on the ideologies behind the iconography of Mother Ireland, and Mary Trotter's Ireland's National Theaters: Political Performance and the Origins of the Irish Dramatic Movement (Syracuse University Press, 2001) revealed the impact of Maud Gonne and the all-women society the Inghinidhe na hÉireann (Daughters of Erin) on the development of the Irish National Theatre Society.

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10

Nikolopoulou, Anastasia, and Marc Baer. "Theatre and Disorder in Late Georgian London." Theatre Journal 46, no. 4 (December 1994): 561. http://dx.doi.org/10.2307/3209089.

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11

Bohstedt, John, and Marc Baer. "Theatre and Disorder in Late Georgian London." American Historical Review 98, no. 1 (February 1993): 162. http://dx.doi.org/10.2307/2166428.

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12

Howell-Meri, Mark. "Acting Spaces and Carpenters' Tools: from the Fortune to the Theatre Royal, Bristol." New Theatre Quarterly 25, no. 2 (May 2009): 148–58. http://dx.doi.org/10.1017/s0266464x09000244.

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Against the received wisdom, Mark Howell-Meri argues here for a continuing tradition between Elizabethan and Restoration (or ‘long eighteenth-century’) playhouses. He bases his argument in part on measurements which suggest the common use of traditional building methods and relationships between measurements and spaces based on ad-quadratum geometry, as shared by theatre builders across the centuries; but also on his own experience as a performance-practitioner specializing in an historiographical approach to making sense of eighteenth-century plays for today's audiences in surviving (or reconstructed) eighteenth-century spaces. He was the first director to restore a three-sided stage front to the Georgian Theatre (now Theatre Royal) in Richmond, Yorkshire, in 1987 with his hit production of Garrick's Miss in her Teens (1747), and other research productions have included Robert Dodsley's The King and the Miller of Mansfield (1737), Colman the Younger's Inkle and Yarico (1787), Inchbald's The Midnight Hour (1787), again at the Georgian Theatre in Richmond, and Lillo's The London Merchant (1731). He is now completing his doctoral thesis, ‘Theatre and Liberty: Eighteenth-Century Play Production on the Three-Sided Stage’.

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13

Taylor, David Francis. "Discoveries and Recoveries in the Laboratory of Georgian Theatre." New Theatre Quarterly 27, no. 3 (August 2011): 229–43. http://dx.doi.org/10.1017/s0266464x11000443.

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For a four-month period in 2010 David Francis Taylor worked as a research consultant with the Theatre Royal at Bury St Edmunds, the only working Regency playhouse in Britain. In this article Taylor reflects upon the experiences and insights he acquired over the course of this collaboration. In particular, he indicates how the theatre's restaging of the neglected repertory of the long eighteenth century within the Georgian space of performance can aid theatre historians in understanding the intricate dynamics of the period's theatre architecture and, crucially, the position and agency of its spectatorships. David Francis Taylor is Assistant Professor of English at the University of Toronto. His book Theatres of Opposition, which concerns the theatricality of politics in the career of the playwright-parliamentarian Richard Brinsley Sheridan, will be published next year by Oxford University Press. He has published articles in Eighteenth-Century Studies, European Romantic Review, and the Keats-Shelley Review, and is currently co-editing, with Julia Swindells, the Oxford Handbook to the Georgian Playhouse.

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14

Gjervan, Ellen Karolina. "The Power of Illusion." Nordic Theatre Studies 26, no. 2 (September 9, 2014): 8. http://dx.doi.org/10.7146/nts.v26i2.24303.

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In this article, I examine how two English theatrical phenomena used stage technology to produce illusions for certain political ends. The two phenomena of interest are the court masque of the early 1600s and the illegitimate genres of the late Georgian London theatre. My focus will be on the latter, through an examination of the pantomime The Picture of Paris – opening at Covent Garden in 1790. Whereas a political reading of the court masque is well established in theatre studies, the same cannot be said regarding a political understanding of the theatre culture of the late Georgian period. Furthermore, those who have focused on the political aspects of this theatre culture have not been interested in the role played by stage technology. This is where this article aims to contribute to the existing body of knowledge. Although the court masques and the illegitimate genres used much of the same stage technology, they differed in how they used it and to what political ends. Whereas the masque could be understood as a conservative statement of royal powers, asserting their right to rule, the illegitimate genres approached the governing powers and policies in a more subversive manner. Late Georgian cultural politics, censoring the spoken word on stage and patenting the performance of tragedy and comedy, gave rise to new theatrical genres where visual aspects – by legal necessity – took centre stage. The resulting spectacular theatre of action and visual image was exempt from government censorship, making possible a special kind of political freedom of expression in these genres. It was during performance, through their use of dumb shows, setting, stage machinery and special effects that government criticism could unfold within these genres.

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15

Bogdańska, Olga, Verónica D’Auria, Coen Heijes, and Xenia Georgopoulou. "Theatre Reviews." Multicultural Shakespeare: Translation, Appropriation and Performance 10, no. 25 (December 31, 2013): 133–52. http://dx.doi.org/10.2478/mstap-2013-0010.

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The Tempest. Dir. Silviu Purcarete. The National Theatre “Marin Sorescu” of Craiova, Romania. 16th Shakespeare Festival, Gdansk, Poland Richard III. Dir. Gabriel Villela. Blanes Museum Garden, Montevideo, Uruguay Henry V. Dir. Des McAnuff. Stratford Shakespeare Festival, Ontario, Canada Julius Caesar. Dir. Gregory Doran. Royal Shakespeare Company A Midsummer Night’s Dream. Adapted and dir. Georgina Kakoudaki. Theatre groups _2 and 4Frontal, Theatro tou Neou Kosmou, Greece Julius Caesar: Scripta Femina. Dir. Roubini Moschochoriti. Theatre group Anima Kinitiras Studio, Greece

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16

Hall, Edith. "Greek Plays In Georgian Reading." Greece and Rome 44, no. 1 (April 1997): 59–81. http://dx.doi.org/10.1093/gr/44.1.59.

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If you lived in Reading in 1821, you might be tempted by the advertisement in your local newspaper for forthcoming attractions at the neighbourhood's commercial theatre. Should your taste encompass Greco-Roman themes, you might want to see ‘Monsieur DECOUR, the renowned FRENCH HERCULES!! Who will perform… FEATS AND EVOLUTIONS…’. If you preferred oriental stunts, you would choose ‘The Chinese JUGGLERS from the Court of Pekin!!’ Such exhibitions are fairly typical of the popular entertainments enjoyed during the late Georgian era in any fast industrializing provincial town not too far from London. But what is surprising is that the same newspaper offers a review of a production in the town hall of Euripides’ little known tragedyOrestes.

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17

Brown, Mark. "Drama Offstage in Tbilisi." New Theatre Quarterly 28, no. 2 (May 2012): 198–200. http://dx.doi.org/10.1017/s0266464x12000280.

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18

Smyth, P. "Calculated Uncertainty: Georgian Theatre and the Construction of Feminine Identities." Oxford Art Journal 31, no. 3 (October 1, 2008): 439–42. http://dx.doi.org/10.1093/oxartj/kcn041.

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19

Ritchie, Leslie. "Women, Sociability and Theatre in Georgian London (review)." Eighteenth Century Fiction 21, no. 2 (2008): 309–11. http://dx.doi.org/10.1353/ecf.0.0049.

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20

White, Bryony. "Theatre, Exhibition, and Curation: Displayed & Performed by Georgina Guy." Theatre Journal 69, no. 3 (2017): 436–37. http://dx.doi.org/10.1353/tj.2017.0057.

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21

Shevtsova, Maria. "Teatr ZAR's Journeys of the Spirit." New Theatre Quarterly 29, no. 2 (April 29, 2013): 170–84. http://dx.doi.org/10.1017/s0266464x13000274.

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Teatr ZAR has been developing its Gospels of Childhood triptych since 2003, when the company was founded after several years of research in Armenia, Iran, and Georgia. It was in Georgia that ZAR learned polyphonic songs from the Svan oral tradition, which it developed in its unique song theatre. In this article Maria Shevtsova maps the first of a series of expeditions, the latter notably including Greece, Corsica, and Sardinia. She describes how the ancient hymns and chants gathered through direct oral transmission (ZAR's choice of material reflects its interest in the songs of early Christianity) provide the subject matter and the spiritual dimension of the group's performance pieces. The idea of the ‘spiritual’ is here distinguished from the strictly religious/denominational as well as the ritualistic or cultic framings of the word. Details from the triptych show how breath, vibration and energy are the forces of ZAR's sonic compositions in which singing, instrumental music, sound making, and movement are vehicles for experience other than immediate material sensation. Reference is made to ZAR's link to the Grotowski legacy in the song theatre of Poland today. Maria Shevtsova, Chair Professor of Drama and Theatre Arts at Goldsmiths, University of London, wishes to thank the International Research Centre of the Freie Universität Berlin for hosting her research, of which this article is an integral part.

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22

Baker, James. "The OP War, Libertarian Communication and Graphic Reportage in Georgian London." European Comic Art 4, no. 1 (January 1, 2011): 81–104. http://dx.doi.org/10.3828/eca.2011.6.

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On 18 September 1809, Covent Garden Theatre reopened, lavishly decorated after the devastating fire of the previous year. Far from being an occasion of celebration, an increase in prices and the architectural redistribution raised the ire of London's theatregoers, sparking months of sustained protest. Known as the Old Price riots, these protests received widespread attention in the metropolitan press. They also prompted various responses from London's satirical print trade. This article will explore the output of these two publicly facing media with respect to the Old Price riots as means of examining the differing processes of reportage they functioned within. It will argue that despite operating on a 'virtual' plane of reportage, that during the Old Price riots graphic satire escaped the confines of its virtuality and became an active agent in Georgian anti-authoritarian protest.

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23

Jordan, Robert. "Convict Performances in a Penal Colony: New South Wales, 1789–1830." Theatre Research International 21, no. 1 (1996): 33–40. http://dx.doi.org/10.1017/s0307883300012682.

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The craze for amateur theatricals among the higher orders in late Georgian England is notorious. It was a passion that was given vent not only in Britain itself, but throughout the Empire, where military officers and civilian gentlefolk trod the boards in centres as far apart as Montreal and Cape Town, Jamaica and Calcutta. One colony that conspicuously lacked such genteel pleasures was convict settlement in New South Wales. The rigours of the posting, the minute numbers constituting the social elite, their geographic dispersal, and the bitter factionalism of their community effectively killed off any possibility of such theatre for the first twenty-five years or so of the outpost's existence. For the next fifteen years the positive influence of a growing population was negated by the continuance of the factionalism, by the deep suspicions of a succession of governors, and by the growing influence of the clergy, most of whom were bitterly hostile to theatre.

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24

Garnai, Amy. "Celebrity, Performance, Reception: British Georgian Theatre as Social Assemblageby David WorrallCelebrity, Performance, Reception: British Georgian Theatre as Social Assemblageby David Worrall Cambridge: Cambridge University Press, 2013. ppvii+305. £65.00. ISBN 978-1107043602." Eighteenth-Century Fiction 27, no. 3–4 (July 2015): 742–44. http://dx.doi.org/10.3138/ecf.2015.27.3.742.

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25

Russell, Gillian. "Recent Studies in Late Georgian Theater and Drama - Women, Nationalism and the Romantic Stage: Theatre and Politics in Britain, 1780–1800. By Betsy Bolton. Cambridge: Cambridge University Press, 2001. Pp. 272+xiv. $59.95 (cloth). - Interculturalism and Resistance in the London Theater, 1660–1800: Identity, Performance, Empire. By Mita Choudhury. Cranbury, N.J.: Bucknell University Press, 2000. Pp. 217. $39.50 (cloth). - Women in British Romantic Theatre: Drama, Performance, and Society, 1790–1840. Edited by Catherine Burroughs. Cambridge: Cambridge University Press, 2000. Pp. 344+xvi. $60.00 (cloth). - The Economics of the British Stage, 1800–1914. By Tracy C. Davis. Cambridge: Cambridge University Press, 2000. Pp. 506+xv. $80.00 (cloth). - Illegitimate Theatre in London, 1770–1840. By Jane Moody. Cambridge: Cambridge University Press, 2000. Pp. 278+xii. $60.00 (cloth)." Journal of British Studies 42, no. 3 (July 2003): 396–405. http://dx.doi.org/10.1086/374296.

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26

Nicholson, Helen. "Henry Irving and the Staging of Spiritualism." New Theatre Quarterly 16, no. 3 (August 2000): 278–87. http://dx.doi.org/10.1017/s0266464x00013907.

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Spiritualism enjoys an equivocal reputation not unlike that of wrestling – for whatever their intrinsic qualities, both benefit greatly from the trappings of showmanship. Supposed spiritualist mediums first manifested themselves during the Victorian era, which seems to have been highly susceptible to such fraudsters as the American Davenport brothers – whose touring ‘seances’ were, however, greeted with rather more scepticism in the North of England than in London. While audiences seemed to enjoy the way in which such demonstrations of spiritual possession were presented in a manner resembling a professional conjuring act, professional conjurers were properly offended by such presumption. So, too, was the young Henry Irving, who, with two companions, took up a challenge in The Era, the newspaper of the variety profession, to emulate the mystical achievements of the Davenports. The following paper, which was originally presented in July 1995 at the Theatre Museum as part of the celebrations of the centenary of Irving's knighthood, traces the rise and development of the spiritualist craze, and illuminates this previously obscure aspect of Irving's career. Helen Nicholson is currently completing her PhD on the life of the Victorian actress and singer Georgina Weldon, before taking up an appointment as a drama lecturer in the English Department at Manchester Metropolitan University. She has published articles on Georgina Weldon in Occasional Papers on Women and Theatre, on the Victorian supernatural, and on Victorian fairies in History Workshop Journal.

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27

Valladares, S. "JULIA SWINDELLS and DAVID FRANCIS TAYLOR (eds). The Oxford Handbook of The Georgian Theatre 1737-1832." Review of English Studies 66, no. 274 (September 2, 2014): 384–86. http://dx.doi.org/10.1093/res/hgu083.

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28

White, Willow. "David Francis Taylor and Julia Swindells (eds), The Oxford Handbook of the Georgian Theatre, 1737–1832." Nineteenth Century Theatre and Film 47, no. 2 (July 1, 2020): 209–12. http://dx.doi.org/10.1177/1748372720934205.

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29

Worrall, David. "Jane Austen Goes to Drury Lane: Identifying Individuals in a Late Georgian Audience." Nineteenth Century Theatre and Film 47, no. 1 (February 3, 2020): 3–25. http://dx.doi.org/10.1177/1748372719900454.

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This essay identifies the theatre box where the novelist, Jane Austen (1775–1817), sat in 1814 to watch Edmund Kean in Shakespeare’s The Merchant of Venice. The Folger Shakespeare Library’s Drury Lane Box Book enables calendar analysis of box occupancy with names, titles and, occasionally, addresses. Critical practice has tended to treat audiences as undifferentiated groups. Assemblage theory makes it possible to conceptualise individuals in audiences as equivalent to audiences in their entirety. Sitting in the same box as Austen was Lady Cecil Copley (1770–1819), the divorced 1st Marchioness of Abercorn. Amongst the other boxes were parties formed by wives of army and naval personnel and a British consul to Brazil. A few boxes away sat Jane Akers, née Ramsay (1772–1842), the wife of a St Kitts slave owner. Akers later claimed compensation under the 1833 Slavery Abolition Act. That weekend Austen had with her the manuscript of Mansfield Park (1814), a novel recognised as a critique of a fictional parkland estate sustained by slavery. Given the steep cultural differentials evident in this single box tier, it is argued theatrical performance, even in Kean’s re-evaluation of Shylock, may have been only tangential in altering the behaviour of that night’s audience.

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30

Armstrong, James. "The Oxford Handbook of the Georgian Theatre, 1737–1832 eds. by Julia Swindells and David Francis Taylor." Theatre Journal 68, no. 2 (2016): 325–26. http://dx.doi.org/10.1353/tj.2016.0064.

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31

Moody, Ivan. "Giya Kancheli: an Introduction to his Music." Tempo, no. 173 (June 1990): 49–52. http://dx.doi.org/10.1017/s0040298200019148.

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Born in 1934, Georgiy (Giya) Kancheli has begun to receive attention in the West rather later than Alfred Schnittke, who was born one year earlier. Kancheli, who comes from Tiflis (Tbilsi), in Georgia – and who should not therefore be described as Russian – studied piano and composition (with Ilya Tuskiya) in the Conservatory of his native town between 1959 and 1963, and he has himself taught there since 1970. Since 1971 he has also been musical director of the Rustaveli Theatre in Tiflis. He has received recognition as a People's Artist of the USSR, and been a State Prize winner, and following his emergence into the consciousness of countries outside the USSR interest in his music has spread considerably.

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Bell, Ian A. "Theatre and Disorder in Late Georgian London. By Marc Baer. Oxford: Clarendon Press, 1992. Pp. 291 + illus. £37.50." Theatre Research International 17, no. 3 (1992): 262. http://dx.doi.org/10.1017/s0307883300016795.

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Gorrie, Richard. "Theatre and Disorder in Late Georgian London, by Marc BaerTheatre and Disorder in Late Georgian London, by Marc Baer. Don Mills, Ontario, Clarendon Press, 1992. xv, 291 pp. $101.50." Canadian Journal of History 29, no. 1 (April 1994): 206–8. http://dx.doi.org/10.3138/cjh.29.1.206.

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34

Langhans, Edward A. "Sybil Rosenfeld, The Georgian Theatre of Richmond Yorkshire. York: The Society for Theatre Research, London, in association with William Sessions Ltd., 1984. 122 pp., 7 illus. £6.50." Theatre Survey 26, no. 1 (May 1985): 97–99. http://dx.doi.org/10.1017/s0040557400000405.

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35

Carey, Katherine M. "The Aesthetics of Immediacy and Hypermediation: the Dumb Shows in Webster's The White Devil." New Theatre Quarterly 23, no. 1 (January 16, 2007): 73–80. http://dx.doi.org/10.1017/s0266464x06000650.

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Is the dumb show, that recurrent standby of Renaissance drama, an archaic convention made even less viable by the prevalence of naturalism – or a purposefully different stage ‘language’ with distinctive functions, which directors misinterpret at their peril? In this article, Katherine M. Carey explores the use of the two dumb shows in Webster's The White Devil (1612), relating this both to the new historicist understanding of the ‘salutary anxiety’ of Jacobean society and to the concept of ‘remediation’ explored in the work of Bolter and Grusin. She ends with a discussion of the dumb shows in three recent productions of the play. Katherine M. Carey has recently completed her doctoral dissertation in the Department of Theatre and Film Studies at the University of Georgia, USA.

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LoPatin, N. "Theatre and Disorder in Late Georgian London. By Marc Baer (New York: Oxford University Press, 1992. xii plus 291pp.)." Journal of Social History 28, no. 4 (June 1, 1995): 907–8. http://dx.doi.org/10.1353/jsh/28.4.907.

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Foley Sherman, Jon. "Georgina Guy. Theatre, Exhibition, and Curation: Displayed and Performed. New York: Routledge, 2016, xiv +211 pp., $80.44." Journal of Contemporary Drama in English 6, no. 2 (November 7, 2018): 429–33. http://dx.doi.org/10.1515/jcde-2018-0036.

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Frijhoff, Willem. "Georgia Cosmos, Huguenot Prophecy and Clandestine Worship in the Eighteenth Century:« The Sacred Theatre of the Cévennes »." Archives de sciences sociales des religions, no. 134 (May 1, 2006): 147–299. http://dx.doi.org/10.4000/assr.3496.

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Grantley, Darryll. "Marc Baer Theatre and Disorder in Late Georgian LondonOxford: Clarendon Press, 1992. 291 p. £37.50. ISBN 0-19-811250-5." New Theatre Quarterly 8, no. 31 (August 1992): 291. http://dx.doi.org/10.1017/s0266464x00006916.

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Robinson, Terry F. "The Oxford Handbook of The Georgian Theatre 1737–1832, ed. Julia Swindells and David Francis TaylorThe Oxford Handbook of The Georgian Theatre 1737–1832, ed. Julia Swindells and David Francis Taylor Oxford: Oxford University Press, 2014. 768pp. £110. ISBN 978-0-19-960030-4." Eighteenth-Century Fiction 27, no. 3–4 (July 2015): 735–41. http://dx.doi.org/10.3138/ecf.2015.27.3.735.

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41

Mikhnevich, Olga I., and Anatoliy P. Chudinov. "Situational conditioned dynamics of the metaphorical image of Mikhail Saakashvili in the British media." Current Issues in Philology and Pedagogical Linguistics, no. 1(2021) (March 25, 2021): 84–96. http://dx.doi.org/10.29025/2079-6021-2021-1-84-96.

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The article is devoted to the diachronic research of the metaphorical portrait of a political leader. The principle of focus fragmentation is used in this research: two fragments of political reality are considered. The diachronic analysis helps to identify constant and variable characteristics for each synchronic slice (a period of time). The present article examines the development of the metaphorical image of Mikheil Saakashvili in the British media. The metaphors of two time periods are compared: the period of Saakashvili’s tenure as the President (2004-2013) and the period after the resignation. The research is based on the British media texts devoted to Mikheil Saakashvili and his activities, which were published in the period 2004-2019. According to the analysis, the number of metaphors with a negative assessment increases, especially during Saakashvili took part in the political struggle in Ukraine. These are metaphors with the sphere-source “War”, “Game / Sport”, “Theater”. The analysis shows that the quantitative indicator of some metaphorical models changes: the number of metaphors with the sphere-source of “Theater” increases in the second synchronic slice, the number of metaphors with the sphere-source of “Monarchy”, “Physiology”, “Mechanism”, etc. decreases. This may indicate a certain connection between the political changes and the frequency of metaphorical models. It is also worthwhile to pay attention to onomastic metaphors characterizing the ex-president of Georgia. The analysis shows that the changes of semantic shade depends on the political situation. The study contributes to better understanding of the general pattern of the dynamics of metaphorical images. The perspectives of our study are comparison of metaphorical images of political leaders in the media of Great Britain, Russia, the United States and other countries.

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Hall, Kim F. "Uses for a Dead White Male: Shakespeare, Feminism, and Diversity." New Theatre Quarterly 11, no. 41 (February 1995): 55–61. http://dx.doi.org/10.1017/s0266464x00008873.

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This article and the two following were prepared as complementary contributions to a panel of the American Association for Higher Education conference on ‘Theatre and Cultural Pluralism’, held in Atlanta, Georgia, in August 1992. In the first, Kim F. Hall, from the Department of English at Georgetown University, Washington, DC, describes her experiences as an African American feminist teaching Shakespeare – often against the expectations of students who expect either an affirmation of his supposed universality, a simplistic condemnation of his politically incorrect positions on race and gender – or his appropriation, on behalf of those wishing to stake their own claim to the ‘culture of power’ he is taken to represent. Instead, Kim F. Hall proposes that feminism offers ‘one way of helping students look at Shakespeare ‘multiculturally’, since gender is one area of inquiry that both crosses cultures and forces one to think about the differences between cultures’.

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Osborne, Elizabeth. "Storytelling, Chiggers, and the Bible Belt: The Georgia Experiment as the Public Face of the Federal Theatre Project." Theatre History Studies 31, no. 1 (2011): 9–26. http://dx.doi.org/10.1353/ths.2011.0016.

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Money, John. "Marc Baer. Theatre and Disorder in Late Georgian London. New York: The Clarendon Press, Oxford University Press, 1992. Pp. xii, 291. $69.00." Albion 25, no. 1 (1993): 119–20. http://dx.doi.org/10.2307/4051072.

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Borsay, Peter, Callum Brown, and J. Stevenson. "Marc Baer, Theatre and Disorder in Late Georgian London. Oxford: Clarendon Press, 1992. xv + 282pp. 13 plates. 2 figures. Tables. Bibliography. £37.50." Urban History 20, no. 2 (October 1993): 255–56. http://dx.doi.org/10.1017/s0963926800010543.

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Gay, Penny. "Gillian Russell. Women, Sociability and Theatre in Georgian London. Cambridge Studies in Romanticism. Cambridge: Cambridge University Press, 2007. Pp. 289. $96.00 (cloth)." Journal of British Studies 48, no. 1 (January 2009): 233–35. http://dx.doi.org/10.1086/596157.

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Nipe, Christine. "Mrs. Siddons' Currency." Theatre Survey 40, no. 2 (November 1999): 71–77. http://dx.doi.org/10.1017/s0040557400003562.

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“At last, Hollywood publicists and their high-profile clients have a chance to pay homage to their patron saint, Sarah Siddons,” claimed the August 17–23 issue of The Hollywood Reporter in its story on the concurrent exhibits of portraits of Sarah Siddons this summer at the J. Paul Getty Museum and he Huntington Art Collection (27 July-19 September). Also characterizing Siddons as calculating media mogul, the Los Angeles Times of July 25 compared the fame of the historical tragic actress (1755–1831) to that of current stars like Madonna, O.J., Diana, and even Monica. England's highly respectable muse of tragedy would likely reject these dubious associations, but the first actress of preeminent stature on the English stage was a symbol of female success, the subject of public scrutiny, and an emblem of ideal femininity. Siddons, who achieved celebrity status during an extraordinarily successful, forty-year career in England, Scotland, and Ireland, recently inspired a constellation of events which included not only these two art exhibitions, but a new play produced by Mark Taper Forum and an academic conference at the Huntington as well. In addition to detailing her sublime acting and renowned position in the Georgian theatre, these happenings emphasized Siddons' use of portraiture to cultivate and maintain her celebrity status.

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Dorney, Kate. "Georgina Guy Theatre, Exhibition, and Curation: Displayed and Performed London: Routledge, 2016. 212 p. £115. ISBN: 978-1-138–3287-9." New Theatre Quarterly 34, no. 4 (October 8, 2018): 397. http://dx.doi.org/10.1017/s0266464x18000490.

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Cartwright, Kent. "New Issues in the Reconstruction of Shakespeare's Theater: Proceedings of the Conference Held at the University of Georgia, February 16–18, 1990. Vol. 1. Artists and Issues in the Theatre. Ed. Franklin J. Hildy. New York: Peter Lang, 1990. pp. xx + 256. $42.50." Theatre Survey 33, no. 2 (November 1992): 211–16. http://dx.doi.org/10.1017/s0040557400002416.

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Erwin, Max. "Marsyas Trio - Marsyas Trio, In the Theatre of Air (Judith Weir, Georgia Rogers, Hilary Tann, Laura Bowler, Amy Beach), NMC D248." Tempo 73, no. 289 (July 2019): 78–79. http://dx.doi.org/10.1017/s0040298219000354.

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