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Relevant bibliographies by topics / Lincoln's Inn Fields Theatre

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Academic literature on the topic 'Lincoln's Inn Fields Theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 January 2023

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Journal articles on the topic "Lincoln's Inn Fields Theatre"

1

Barlow, Jeremy, and Moira Goff. "Dancing in Early Productions of The Beggar's Opera." Dance Research 33, no. 2 (2015): 143–58. http://dx.doi.org/10.3366/drs.2015.0136.

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John Gay's The Beggar's Opera was accepted for production by John Rich, manager at the Theatre Royal, Lincoln's Inn Fields, and received its premiere in January 1728. With its twin satirical targets of Italian opera and political corruption, and its fresh approach to musical entertainment, the opera had an unprecedented success during its first season and continued to be performed every year in London for the remainder of the century. Alongside the many songs, the libretto indicates three contrasting ensemble dances, introduced at key moments of the drama. These dances have been overlooked in most studies of The Beggar's Opera. The article investigates the significance of the dances within the ballad opera, the dancers who may have performed them and what they may have been dancing. Each dance and its music is analysed in detail, and placed within the context of the dance repertoire and wider theatrical background at Lincoln's Inn Fields. The authors also demonstrate the importance of dance in attracting audiences at Lincoln's Inn Fields; and show how, as box office receipts for The Beggar's Opera eventually declined, Rich stimulated demand by introducing divertissements and entr'acte dances unrelated to the show.

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2

Milhous, Judith, and Robert D. Hume. "Profits at Drury Lane, 1713–1716." Theatre Research International 14, no. 3 (1989): 241–55. http://dx.doi.org/10.1017/s0307883300008956.

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Surviving records of early eighteenth-century London theatres include a number of account books recording daily receipts, but fewer than we would like. ‘Rich's Register’ gives us daily totals at Lincoln's Inn Fields from 1714 to 1723, and we have accounts in one form or another for a good many seasons at that theatre thereafter. Drury Lane is a different matter. Not until 1741–2 do we possess day-by-day totals for a season there. In view of the comparative paucity of information about receipts at Drury Lane, neglect of one of the few sources of financial information available to us seems odd indeed. The MS at issue was quoted in print as early as 1939, and is cited in The London Stage (under the wrong reference number) – but no one has ever printed or analysed more than a small sampling of the figures available.

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3

Gardner, Kevin J. "Theatrum Belli: Late-Restoration Comedy and the Rise of the Standing Army." Theatre Survey 36, no. 1 (1995): 37–54. http://dx.doi.org/10.1017/s0040557400006475.

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“Plays are but the Mirrours of our Lives,” wrote Colley Cibber in 1707, recognizing the special relevance of a timeless metaphor to the theatre of his own day. A man generally given to hyperbole, Cibber here underestimates the theatre's affective power for influencing and transforming society. Of all the many reflections and transformations one may see in the mirror of late-Restoration theatre, however, the most important, I believe, are the images of warfare. In the early eighteenth century, the theatrum mundi was indeed a theatrum belli, for the theatre of war was not confined to Vigo, Blenheim, and Malplaquet, to the fields of Sanders or Spain, but was enacted on the proscenium stages of Drury Lane, Lincoln's Inn fields, and the Haymarket. Nearly every new play written and produced on the London stages in the first decade of the eighteenth century has a Redcoat or a Tar in its dramatis personae or has topical references to the War of the Spanish Succession, to disbandment, to conscription, or to the debate over the issue of a standing army. Concurrent with the theatre's reflection of the nation's concern over the rise of the standing army is a transformation in the representation of army officers in stage comedies. After 1700, portrayals of military men shift so dramatically that they seem to attain an ideological significance; the historical causes and the aesthetic effects of this shift—which are the focal points of the ensuing essay—suggest a widespread ideological effort by writers to enlist public sympathy not only for the soldier but also for the notion of a standing army.

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4

Goff, Moira. "Leach Glover, ‘Dancing Master to the Royal Family’ Part One: The Professional Dancer in Context." Dance Research 39, no. 2 (2021): 204–21. http://dx.doi.org/10.3366/drs.2021.0343.

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Leach Glover (1697–1763) danced in London's theatres from 1717 until 1741 and was a leading dancer for nearly twenty years. In 1738, he was appointed as a dancing master to Britain's royal family, a post he retained following his retirement from the stage. This article looks at Glover's family and professional background and places his theatrical career within the wider context of dancing on the London stage. It looks in detail at his first and last seasons working for John Rich, manager of the Lincoln's Inn Fields and then Covent Garden theatres. It examines not only Glover's repertoire but also his changing status in the dance company that existed within the theatrical company. As part of this investigation, it discusses some of Glover's contemporaries alongside its appraisal of his own work and looks at the challenges as well as the opportunities he experienced within the commercial environment of the London stage.

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5

Peck, James. "Albion's “Chaste Lucrece”: Chastity, Resistance, and the Glorious Revolution in the Career of Anne Bracegirdle." Theatre Survey 45, no. 1 (2004): 89–113. http://dx.doi.org/10.1017/s0040557404000079.

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By all indications, the public persona of the late Restoration actress Anne Bracegirdle was built on the speculative foundation of maidenhead. A leading ingénue of multiple talents, Bracegirdle played significant roles in comedy, tragedy, and music-drama from her debut in 1688 to her retirement in 1707. In comedy, Bracegirdle specialized in marriageable young women of rank, wit, and fortune. In serious drama, Bracegirdle often played the pathetic heroine, a virtuous woman stalked by a predatory man. Though primarily an actress, Bracegirdle also called upon her impressive soprano voice in many entr'actes and the occasional musical part. A first-rank player and hardworking company member from very early in her career, Bracegirdle played some eighty roles over a nineteen-year span that kept her consistently before the public eye. Despite Bracegirdle's constant appearances on the stages of Drury Lane, Dorset Garden, Lincoln's Inn Fields, and the Queen's Theatre in the Haymarket, few extant sources identify the qualities that typified her playing; commentators rarely discuss her acting as a discrete set of practices, aptitudes, or characterizations. Rather, prodigious evidence attests to the public's obsession with Bracegirdle's reputation for virginity. Called the “Romantick Virgin,” the actress was thought to be chaste, and many writers focused attention on her sexual virtue. Indeed, Bracegirdle's chastity seems to have been the cornerstone of her fame. As Colley Cibber wrote, her star status rose in conjunction with her reputation for purity:

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6

Nield, Sophie, Marjean D. Purinton, and Matthew Solomon. "Reviews: William West and the Regency Toy Theatre. An Exhibition at Sir John Soane's Museum, 13 Lincoln's Inn Fields, London WC2, in Association with Pollock's Toy Museum. 16 January to 27 March 2004. (The Exhibition Will Have Closed at its London Venue by the Time This Review Appears but Will Tour Numerous British Regional Museums Throughout 2005)., Jane Austen and the Theatre., Jane Austen and the Theatre., Legitimate Cinema: Theatre Stars in Silent British Films, 1908–1918." Nineteenth Century Theatre and Film 31, no. 1 (2004): 81–88. http://dx.doi.org/10.7227/nctf.31.1.7.

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7

Snider, Alvin. "Aphra Behn's The Forc'd Marriage at Lincoln's Inn Fields." Studies in Philology 115, no. 1 (2018): 193–217. http://dx.doi.org/10.1353/sip.2018.0007.

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8

Ladwa, Russ. "Oh, what a safari." Bulletin of the Royal College of Surgeons of England 94, no. 7 (2012): 240. http://dx.doi.org/10.1308/147363512x13311314197770.

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The word 'safari' has come into English from the Swahili word meaning 'journey'. I wish to share with you my own amazing journey from a small farming town in the riftValley (Nakuru, the town famous for its pink flamingos) in Kenya to Lincoln's Inn fields in London.

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9

Honer, J. "Essay review: The genius of soane." Notes and Records of the Royal Society of London 55, no. 2 (2001): 325–29. http://dx.doi.org/10.1098/rsnr.2001.0147.

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At the mention of Sir John Soane, F.R.S., we might call to mind the Bank of England or a visit to the Dulwich Picture Gallery, or alternatively a conducted tour around the Soane Museum in Lincoln's Inn Fields by Sir John Summerson, its curator for nearly 40 years, until 1984. More recently our interest in Soane may have been stimulated by a visit to an exhibition of his work at the Royal Academy in the autumn of 1999.

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10

Willmert, Todd. "Heating Methods and Their Impact on Soane's Work: Lincoln's Inn Fields and Dulwich Picture Gallery." Journal of the Society of Architectural Historians 52, no. 1 (1993): 26–58. http://dx.doi.org/10.2307/990756.

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During the years of Sir John Soane's practice, there were tremendous advancements in central heating methods. Stoves and fireplaces were no longer the primary means of heating spaces as hot air, steam, and hot water systems were introduced and gained currency. Soane designed expressive stoves, and fireplaces remained especially important to him because of their cultural associations, but he also readily recognized the possibilities of central systems and utilized them as they became available. The result is a compelling dialogue between his architecture and the diversity of available heating strategies. To understand fully Soane's manipulation of space or design intent in such major works as Lincoln's Inn Fields and Dulwich Picture Gallery, it is critical to understand his awareness of heating methods and his expertise in addressing the architectural opportunities they offered.

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Dissertations / Theses on the topic "Lincoln's Inn Fields Theatre"

1

Bush-Bailey, Gillian. "Treading the bawds : female theatre practice at Lincoln's Inn Fields 1695-1705." Thesis, Royal Holloway, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369063.

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2

Keenan, Timothy Francis. "Early restoration staging : play production at Lincoln's Inn Fields, 1661-1674." Thesis, Goldsmiths College (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.429933.

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Books on the topic "Lincoln's Inn Fields Theatre"

1

Music and musicians on the London stage, 1695-1705. Ashgate, 2009.

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2

Behn, Aphra. The rover, or, The banish't cavaliers: As it was acted by His Majesty's servants, at the theatre in Little-Lincolns-Inn-Fields. Printed by J. Orme, for Richard Wellington ..., 1985.

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3

Museum, Sir John Soane's, ed. The Soanes at home: Domestic life at Lincoln's Inn Fields. Sir John Soane's Museum, 1997.

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4

Jeffery, Paul. The church that never was: Wren's St. Mary and other projects for Lincoln's Inn fields. (Society of Architectural Historians of Great Britain), 1988.

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5

Fenton, Elijah. Mariamne. A tragedy. Acted at the Theatre Royal in Lincoln's-Inn-Fields. Written by Mr. Fenton. Gale ECCO, Print Editions, 2010.

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6

Bullock, Christopher. The Per-juror. As it is Acted at the Theatre in Lincoln's-Inn-Fields. The Fifth Edition. Gale ECCO, Print Editions, 2018.

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7

Philips, William. Belisarius. a Tragedy. Acted at the Theatre Royal in Lincoln's-Inn-Fields. Written by William Philips, Esq. Creative Media Partners, LLC, 2018.

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8

Theobald. Perseus and Andromeda. As it is Performed at the Theatre Royal in Lincoln's-Inn-Fields. Adorn'd With Copper-plates. Gale ECCO, Print Editions, 2018.

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9

Lowerre, Kathryn. Music and Musicians on the London Stage, 1695-1705. Taylor & Francis Group, 2017.

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10

Lowerre, Kathryn. Music and Musicians on the London Stage, 1695-1705. Taylor & Francis Group, 2016.

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Book chapters on the topic "Lincoln's Inn Fields Theatre"

1

Symson, Joseph. "[1938] To: John Fisher Esq., at the Lions in Portugal Row, Lincoln's Inn Fields; Kendal, 24 November, 1718." In Records of Social and Economic History: New Series, Vol. 34: ‘An Exact and Industrious Tradesman’: The Letter Book of Joseph Symson of Kendal, 1711–1720, edited by S. D. Smith. British Academy, 2002. http://dx.doi.org/10.1093/oseo/instance.00166667.

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Symson, Joseph. "[1892] To: John Fisher Esq., at the Lions in Portugal Row in Lincoln's Inn Fields, London; [Kendal], 30 August, 1718." In Records of Social and Economic History: New Series, Vol. 34: ‘An Exact and Industrious Tradesman’: The Letter Book of Joseph Symson of Kendal, 1711–1720, edited by S. D. Smith. British Academy, 2002. http://dx.doi.org/10.1093/oseo/instance.00166621.

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