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Journal articles on the topic 'Restoration drama'

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Published: 4 June 2021
Last updated: 1 February 2022

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1

Roberts, D. "Perspectives on Restoration Drama." Notes and Queries 50, no. 1 (March 1, 2003): 122–23. http://dx.doi.org/10.1093/nq/50.1.122.

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2

Roberts, David. "Perspectives on Restoration Drama." Notes and Queries 50, no. 1 (March 1, 2003): 122–23. http://dx.doi.org/10.1093/nq/500122.

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3

Corman, Brian. "Performing Restoration Drama Today." Restoration: Studies in English Literary Culture, 1660-1700 43, no. 2 (2019): 93–97. http://dx.doi.org/10.1353/rst.2019.0014.

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4

WILLIAMS, A. "BRIEFING: NIGERIA: A RESTORATION DRAMA." African Affairs 98, no. 392 (July 1, 1999): 407–13. http://dx.doi.org/10.1093/oxfordjournals.afraf.a008047.

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5

Roberts, D. "A Companion to Restoration Drama." Notes and Queries 50, no. 1 (March 1, 2003): 123–24. http://dx.doi.org/10.1093/nq/50.1.123.

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6

Cordner, M. "Review: Restoration Drama: An Anthology." Review of English Studies 52, no. 206 (May 1, 2001): 260–62. http://dx.doi.org/10.1093/res/52.206.260.

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7

Roberts, David. "A Companion to Restoration Drama." Notes and Queries 50, no. 1 (March 1, 2003): 123–24. http://dx.doi.org/10.1093/nq/500123.

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8

OWEN, SUSAN J. "INTERPRETING THE POLITICS OF RESTORATION DRAMA." Seventeenth Century 8, no. 1 (March 1993): 67–97. http://dx.doi.org/10.1080/0268117x.1993.10555352.

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9

Markley, Robert. "Introduction: Rethinking Restoration and Eighteenth-Century Drama." Comparative Drama 42, no. 1 (2008): 1–6. http://dx.doi.org/10.1353/cdr.2008.0014.

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10

Dharwadker, Aparna. "Authorship, Metatheatre, and Antitheatre in the Restoration." Theatre Research International 27, no. 2 (June 18, 2002): 125–35. http://dx.doi.org/10.1017/s0307883302000214.

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Restoration theatre theory, polemic, and practice are closely concerned with questions of value, although they have received little attention in recent criticism that considers the formation of the English canon up to and during the eighteenth century. The main issue addressed concerns the legitimacy of dramatic form, which dominates the metatheatre of 1668–75, but also appears unexpectedly in the political drama (especially the comedy) of the early 1660s and the antitheatrical rhetoric of the 1690s. In all these instances, the complexity, integrity, and completeness of drama-in-performance are seen to determine the value of plays as well as playwriting. While the attack on heroic drama in metatheatrical plays such as Shadwell's The Sullen Lovers (1668) and Buckingham's The Rehearsal (1671) is directed by authors of one persuasion against another, Thomas Duffett's burlesque attack on the theatre of spectacle in the 1670s paradoxically is reinforced by the self-criticism of his targets. Moreover, Jeremy Collier's antitheatrical offensive in the late 1690s shows an atypical concern with specific dramatic content, especially in comedy, suggesting that both metatheatre and antitheatre in the Restoration focus their oppositional energies on the particulars of genre.
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11

Condon, Linda. "Untangling the Drama Triangle Using the Circle of Restoration." Journal of Psychodrama, Sociometry, and Group Psychotherapy 62, no. 1 (May 1, 2014): 79–89. http://dx.doi.org/10.12926/0731-1273-62.1.79.

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The Karpman Drama Triangle provides a clear description of roles that can assist psychodramatists in exploring through action interventions more satisfying interpersonal connection. This article will examine the dysfunctional, unconscious dance of the roles of Victim, Rescuer, and Persecutor. Psychodrama provides an excellent avenue for developing more satisfying roles that the author describes as the Circle of Restoration. A variety of action interventions will be suggested and explored for assisting clients to shift off of the Drama Triangle to healthier roles of expression, action, and connection.
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12

Siopsi, Anastasia. "Influences of ancient Greek spirit on music romanticism as exemplifies in Richard Wagner's Gesamtkunstwerk." Muzikologija, no. 5 (2005): 257–67. http://dx.doi.org/10.2298/muz0505257s.

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The romantics' ideal of the arts' collaboration (Mischgedichte) finds its most substantial equivalent in Richard Wagner's (1813-1883) "total work of art" (Gesamtkunstwerk). This theory for the restoration of the 'lost' unity of arts was elaborated in many theoretical essays of Wagner and 'applied' in his music dramas. Unity of arts, as well as unity of arts with nature existed according to Wagner in Ancient Greece while drama was the epitome of all expressive elements of nature. This "new art of the future", which Wagner envisaged, would restore the 'wholeness' of ancient Greek drama. It is the purpose, therefore, of this study to analyze mainly from an aesthetic point of view the influences of ancient Greek spirit on romantic thought, by focusing on Wagner's work.
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13

Braga Riera, Jorge. "Translation and performance cultures: Spanish drama and Restoration England." Theatralia, no. 1 (2021): 101–18. http://dx.doi.org/10.5817/ty2021-1-8.

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14

Rosenthal, Laura J. "Restoration and Eighteenth-Century Drama: New Directions in the Field." Literature Compass 5, no. 2 (March 2008): 174–94. http://dx.doi.org/10.1111/j.1741-4113.2007.00513.x.

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15

Bevis, Richard. "Canon, Pedagogy, Prospectus: Redesigning "Restoration and Eighteenth-Century English Drama"." Comparative Drama 31, no. 1 (1997): 178–91. http://dx.doi.org/10.1353/cdr.1997.0004.

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16

Jones Nakanishi, Wendy. "A Severed Head: As Freudian Drama and as Restoration Comedy." English Studies 91, no. 8 (December 2010): 884–92. http://dx.doi.org/10.1080/0013838x.2010.488848.

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17

Norwood, Janice. "A Companion to Restoration Drama - Edited by Susan J. Owen." Journal for Eighteenth-Century Studies 33, no. 3 (August 3, 2010): 399–400. http://dx.doi.org/10.1111/j.1754-0208.2009.00243.x.

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18

Hoston, Germaine A. "Conceptualizing Bourgeois Revolution: The Prewar Japanese Left and the Meiji Restoration." Comparative Studies in Society and History 33, no. 3 (July 1991): 539–81. http://dx.doi.org/10.1017/s0010417500017175.

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That the Meiji Restoration marked Japan's proruption as a modern industrial nation-state has become a commonplace among those who study Japanese political history. The event may lack the romantic drama and mythology of the French revolutionary upheaval of almost a century before, yet the Restoration has remained a source of fascination for scholars seeking patterns in the events that transcend national boundaries to form the seamless web of human history.
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19

Love, Harold, and John McVeagh. "Thomas Durfey and Restoration Drama: The Work of a Forgotten Writer." Modern Language Review 98, no. 1 (January 2003): 180. http://dx.doi.org/10.2307/3738204.

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20

Hume, Robert D., and Jessica Munns. "Restoration Politics and Drama: The Plays of Thomas Otway, 1675-1683." Yearbook of English Studies 28 (1998): 316. http://dx.doi.org/10.2307/3508789.

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21

Milhous, Judith. "The Ladies: Female Patronage of Restoration Drama, 1660-1700. David Roberts." Modern Philology 89, no. 4 (May 1992): 564–67. http://dx.doi.org/10.1086/392011.

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22

Netzley, Ryan, William Baker, and Jennifer Airey. "X The Seventeenth Century: Part II." Year's Work in English Studies 98, no. 1 (2019): 550–81. http://dx.doi.org/10.1093/ywes/maz008.

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AbstractThis chapter has five sections: 1. General; 2. Other Poetry; 3. Restoration Drama Excluding Dryden; 4. Dryden; 5. Prose. Section 1 is by Ryan Netzley; section 2 is by William Baker; sections 3 and 4 are by Jennifer Airey; section 5 is by William Baker.
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23

Backscheider, Paula R. "Behind City Walls: Restoration Actors in the Drapers' Company." Theatre Survey 45, no. 1 (May 2004): 75–87. http://dx.doi.org/10.1017/s0040557404000067.

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In 1934, Louis B. Wright wrote, “All the world knows since the publication of studies by Professors Graves, Rollins, and Hotson that . . . [the drama's] light never went out completely.” Yet in a 2001 reference book, a contributor writes, “After an eighteen year hiatus. . . .” No wonder that Dale Randall could legitimately write in 1995, “We are asked to believe that little or nothing happened in English drama for the next eighteen years” beginning in 1642. His Winter Fruit is an important survey of dramatic activity during the Interregnum, and scholars continue to document the varieties of theatrical activities in the period. My essay is a modest contribution to the accumulation of details about a lingering, integral puzzle: how two London companies with experienced actors and new stars came into existence so quickly in 1660. It also shows that the Old City of London was not as inhospitable to drama as it is often portrayed. The piece of this puzzle that I can supply is the picture of John Rhodes and the Drapers' Company. Of Rhodes, John Downes wrote that in the winter of 1659–60 he “fitted up a House then for Acting call'd the Cock-Pit in Drury-Lane, and in a short time Compleated his Company.” Downes supplies a list of plays acted there beginning in February and comments that one of these new actors, Thomas Betterton, then “but 22 Years Old, was highly Applauded for his Acting . . . ; his Voice being then as Audibly strong, full and Articulate, as in the Prime of his Acting.”
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24

Alhawamdeh, Hussein A. "The Restoration Muslim Tangerines Caliban and Sycorax in Dryden-Davenant’s Adaptation of Shakespeare’s The Tempest." Critical Survey 33, no. 3-4 (September 1, 2021): 121–40. http://dx.doi.org/10.3167/cs.2021.33030412.

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This article analyses the filtering of Shakespeare’s The Tempest (1611) in the Restoration drama repertoire, showing the Restoration revision of the Shakespearean stereotypical delineation of the ‘half-moor’ Caliban in the light of Restoration England’s complex relations of admiration and trepidation with regard to the Muslim Moors and Turks. Dryden-Davenant’s The Tempest or The Enchanted Island (1667) complicates the figures of Caliban and Sycorax as Muslim Moorish friends or foes and possible subjects of Charles II’s English Tangier on the Barbary coast. Dryden-Davenant’s The Enchanted Island makes historical parallels and allusions to Charles II’s marriage to the Portuguese Catherine of Braganza and the English possession of Tangier as a part of the marriage dowry.
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25

Choudhury, Mita. "Orrery and the London stage: A loyalist's contribution to restoration allegorical drama." Studia Neophilologica 62, no. 1 (January 1990): 43–59. http://dx.doi.org/10.1080/00393279008588039.

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26

Şahin Gülter, Işıl. "“The Greatest Empresse of the East”: Hurrem Sultan in English Restoration Drama." LITERA 31, no. 1 (June 10, 2021): 203–27. http://dx.doi.org/10.26650/litera2020-0093.

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27

Proleiev, Sergii. "Social drama of independence." Filosofska dumka (Philosophical Thought) -, no. 3 (September 7, 2021): 64–78. http://dx.doi.org/10.15407/fd2021.03.064.

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The article analyzes the problem of Ukraine's development since independence. A comparison of the way of organizing social reality in modern Ukraine and in the Soviet period is carried out. The main regulatory factor in the life of Soviet society was the principle of domination. Ukraine has inherited the principle of domination and retains its leading role in the current social order. Its various manifestations that determine the structure of Ukrainian society, in particular the growth of the bureaucratic class and bureaucratic pressure on all spheres and sections of life, are analyzed. The dominance of bureaucracy contains latent violence, feeds corruption and minimizes social dynamics. It is also a phenomenon of power rent, which finds its expression in a kind of "privatization of the state." Another universal effect of the principle of domination is the doubling of social reality into apparent and hidden. The apparent reality becomes a space for the existence of ordinary citizens and the implementation of legal procedures, while the hidden one contains a system of real circulation of power, which is not regulated by any legal regulations, instead, controls all movements of the social body. The systemic role in the hidden society is played by cliques — informal groups of influential people who really control the course of events. The con- sequence of the principle of domination is the passivity and marginalization of the Ukrainian citizen, associated with the defect of political participation. Such non-participation in power is embodied in such forms of consciousness as hope, liking, and despair. Today, independence is not a given, but a chance that must be realized. The way to this is through the restoration of the role of the people as a sovereign power and the development of non-dominant regulatory factors of sociality.
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28

Yebra, José M. "The flourishing of female playwriting on the Augustan stage: Mary Pix’s "The innocent mistress"." Journal of English Studies 12 (December 20, 2014): 149. http://dx.doi.org/10.18172/jes.2828.

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This article aims at analysing Mary Pix’s The Innocent Mistress (1697) as a paradigmatic example of the boom in female playwriting at the end of the seventeenth century in England. It is my main aim to determine whether and to what extent Pix’s play can be considered a derivative or innovative text. In other words, does The Innocent Mistress stick to the reformist atmosphere prevailing at the end of the seventeenth century or, on the contrary, is the play fully indebted to the hard Restoration drama of the 1670s? In contrast to the classic view of the Restoration stage as a monolith, this essay shows the evolution from the libertarian Carolean plays to the essentially reformist Augustan drama, and the impact and role of women’s writing in this process. Thus, after briefly delving into the main traits of both traditions –especially those concerning gender relations– my essay concludes that The Innocent Mistress proves to be clearly a product of its time, adapting recurrent Carolean devices to Augustan Reformism, but also the product of a female playwright and her limited room for transgression.
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29

Scott, Clive. "French and English Rhymes Compared." Empirical Studies of the Arts 10, no. 2 (July 1992): 121–56. http://dx.doi.org/10.2190/ufek-yh99-erm5-7jab.

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The richness and complexity of rhyme has to a great extent been ignored. This article first examines the structural role of rhymes within metrics, illuminating its contrasted role in French and English verse. Linguistic differences and their consequences for the exploitation of various rhyme schemes in French and English are also examined—for example through a discussion of the role of rhyme in French classical drama as compared to English Restoration drama. The semantic and pragmatic consequences of rhyme are also addressed, with special emphasis on the comparative anatomy of rhyme words (morphemes, suffixes, endings) and the changed significance of rhyme with the advent of free verse.
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30

Everist, Mark. "Giacomo Meyerbeer, the Théâtre Royal de l'Odéon, and Music Drama in Restoration Paris." 19th-Century Music 17, no. 2 (1993): 124–48. http://dx.doi.org/10.2307/746330.

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31

Gerber, Paul. "“To bury Caesar or to praise him?”: The Savage affair as Restoration drama." Medical Journal of Australia 145, no. 5 (September 1986): 201–5. http://dx.doi.org/10.5694/j.1326-5377.1986.tb113812.x.

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32

Bywaters, D. "Representations of the Interregnum and Restoration in English Drama of the early 1660s." Review of English Studies 60, no. 244 (April 18, 2008): 255–70. http://dx.doi.org/10.1093/res/hgn041.

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33

Prest, J. "Review: 'Beneath Ierne's Banners': Irish Protestant Drama of the Restoration and Eighteenth Century." Review of English Studies 52, no. 206 (May 1, 2001): 259–60. http://dx.doi.org/10.1093/res/52.206.259.

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34

Darby, Barbara. "Broken Boundaries: Women & Feminism in Restoration Drama ed. by Katherine M. Quinsey." ESC: English Studies in Canada 24, no. 3 (1998): 348–51. http://dx.doi.org/10.1353/esc.1998.0010.

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35

Orr, Bridget. "From couch scenes to kare kare: visual pleasure, restoration drama and feminist film." New Review of Film and Television Studies 15, no. 4 (October 2, 2017): 456–60. http://dx.doi.org/10.1080/17400309.2017.1376888.

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36

Everist, Mark. "Giacomo Meyerbeer, the Theatre Royal de l'Odeon, and Music Drama in Restoration Paris." 19th-Century Music 17, no. 2 (October 1993): 124–48. http://dx.doi.org/10.1525/ncm.1993.17.2.02a00020.

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37

Evans, Mel. "Style and chronology: A stylometric investigation of Aphra Behn’s dramatic style and the dating of The Young King." Language and Literature: International Journal of Stylistics 27, no. 2 (May 2018): 103–32. http://dx.doi.org/10.1177/0963947018772505.

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Aphra Behn’s dramatic outputs are recognized for their diversity and responsiveness to trends in Restoration drama. A stylometric approach is used to investigate the linguistic dimension of Behn’s dramatic style, with a particular focus on evidence of chronological change. Quantitative analysis (most frequent words, function words, zeta) suggests that Behn’s drama falls into three periods. A qualitative analysis indicates that the periodization may reflect a change in the construction of Behn’s dramatic worlds, from an abstract psychological focus to a more grounded, interactive and social representation. The study considers the problematic dating of Behn’s tragi-comedy The Young King. Although critical opinion holds that this play was the first that Behn wrote (i.e. pre-1670), the stylometric analysis suggests that Behn heavily revised, or, indeed, penned, the drama in the mid-to-late 1670s, mid-way through her writing career. The paper demonstrates the potential for stylochronometric techniques to complement other linguistic approaches to style, and enhance our understanding of how literary writing evolves.
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38

Ioannou, Georgios. "The tragic in Greek drama and conceptual blending." Journal of Literary Semantics 49, no. 2 (November 26, 2020): 167–90. http://dx.doi.org/10.1515/jls-2020-2025.

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AbstractThis paper examines the tragic sense permeating ancient Greek drama as a product of a special type of conceptual integration between two antithetic mental spaces, which prompts the simultaneous generation of two mutually exclusive emergent structures. The special tragic sense generated carries along the inferences of two equally impossible situations. The key-difference between this type of blend and other counterfactuals is argued to be found in the lack of reference scenario in the blend. In the context of theatrical enactment, the realisation of this special type of antithetic blend is based on the frame-clash between conceived and enacted space, matched by the emotions of pity and fear, respectively. The feeling of catharsis that follows the end of the play is analysed as a second level blend within the emergent structure that leads to the restoration of a single common space of cognitive compatibility between actors and audience.
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39

Derrick, Patty S. "Julia Marlowe: An Actress Caught Between Traditions." Theatre Survey 32, no. 1 (May 1991): 85–105. http://dx.doi.org/10.1017/s0040557400009479.

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Julia Marlowe's career, 1887–1924, came at an awkward point in the history of the American theatre, a transitional period when old traditions were fading and new ones had not yet been established. During her thirty years as an actress, a heterogeneous mixture of plays was seen on the American stage: Shakespeare and other old classics, emotional dramas adapted from the French and German, melodramas old and new, early attempts at realism, problem plays. Most strikingly innovative in this period were the dramas of Ibsen, Shaw, and O'Neill (his early plays), which questioned conventional values and often presented a disturbing view of human life and relationships. The range of plays was varied for performers, and the acting styles employed by the actors revealed a comparable diversity. According to Garff Wilson's classification, players like Helena Modjeska performed in the classic style characterized by grace, symmetry, and poetic grandeur; Clara Morris and Fanny Davenport perfected a highly emotional style, both specialists in the art of stage weeping; Otis Skinner abandoned the classics of Shakespeare and Restoration drama and became famous in sentimental comedy and romantic costume drama such as Kismet; Ada Rehan and Viola Allen, part of the “sisterhood of sweetness and light,” achieved popularity as actresses of the “personality school”; Richard Mansfield, a thoroughly transitional figure, clung to the classics in his repertoire but also produced and performed in the modern plays of Shaw and Ibsen; Minnie Maddern Fiske championed the works of Ibsen and a style of acting called the school of psychological naturalism.
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40

Lazim Hassan Al Ghareeb, Sanaa. "The Restoration of the Spirituality of Blackness In "Everett LeRoi Jones’s Selected Plays"." Journal of Education College Wasit University 1, no. 24 (January 17, 2018): 503–14. http://dx.doi.org/10.31185/eduj.vol1.iss24.190.

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LeRoi Jones (Imamu Amiri Baraka, 1943-2014) is one of the American literary men whose drama rocked the American stage with its violence and innovative vision. His ups and downs in life as well as his changing political phases formed his theatrical vision and influenced his audience. This research is an attempt to explore his views at a certain era in his career through studying three selected plays; The Toilet(1964),The Slave Ship(1967),and The Motion of History(1977).
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41

Han Kim. "Reading Mythology and Drama as a Means of Human Restoration in the Digital Age." Journal of Classic and English Renaissance Literature 17, no. 1 (June 2008): 81–116. http://dx.doi.org/10.17259/jcerl.2008.17.1.81.

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42

David Roberts. "‘RANKED AMONG THE BEST’: TRANSLATION AND CULTURAL AGENCY IN RESTORATION TRANSLATIONS OF FRENCH DRAMA." Modern Language Review 108, no. 2 (2013): 396. http://dx.doi.org/10.5699/modelangrevi.108.2.0396.

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43

Van Kooy, Dana. "Lothario’s Corpse: Libertine Drama and the Long-Running Restoration, 1700–1832 by Daniel Gustafson." Eighteenth-Century Studies 54, no. 4 (2021): 1051–54. http://dx.doi.org/10.1353/ecs.2021.0090.

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44

McGirr, Elaine. "Lothario's Corpse: Libertine Drama and the Long-running Restoration, 1700-1832 by Daniel Gustafson." Restoration: Studies in English Literary Culture, 1660-1700 45, no. 1 (2021): 111–13. http://dx.doi.org/10.1353/rst.2021.0002.

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45

Pyo, Won-Soub, and Yoon-Hee Park. "A Study on the Restoration of the Language of the Time for a Historical Drama." Journal of the Korea Entertainment Industry Association 13, no. 2 (February 28, 2019): 133–43. http://dx.doi.org/10.21184/jkeia.2019.2.13.2.133.

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46

Fitzmaurice, Susan M. "“Plethoras of witty verbiage” and “heathen Greek”." Journal of Historical Pragmatics 3, no. 1 (January 25, 2002): 31–60. http://dx.doi.org/10.1075/jhp.3.1.03fit.

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This paper draws upon Horn’s reworking of Grice’s conversational maxims as Q- and R-principles in order to provide a rich pragmatic reading of British comic drama, from the London comedies of Ben Jonson, to the restoration comedy of William Wycherley to the late twentieth-century London comedy of Steven Berkoff. I demonstrate that short-circuited implicatures (SCIs) as well as conventional and conversational implicatures operate to illuminate comic meaning for readers, both knowledgeable and unfamiliar with the historical code and the cultural milieu in which these plays may be set. I conclude that two kinds of pragmatic work are involved in reading comic drama: conversational implicature is situation- rather than code-based, and depends upon our ability to construe pragmatic acts in the dramatic text. The other kind of pragmatic work involves the inference that the meanings intended are conventional and cannot be reconstructed or calculated from what is being said.
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47

Stern, Jill. "The rhetoric of popular Orangism, 1650–72*." Historical Research 77, no. 196 (May 1, 2004): 202–24. http://dx.doi.org/10.1111/j.0950-3471.2004.00207.x.

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Abstract During the period 1650–72, the Dutch Republic was without a stadtholder prince of Orange. This article examines the rhetoric of the supporters of the House of Orange throughout these years in relation to the common people of the Republic. Within this context, it investigates the arguments that Orangists used to justify the restoration of the stadtholderate, and examines how, at critical times, direct action by the commonalty was incited and justified. The article draws on the printed pamphlets of the period as well as on drama, poetry and visual imagery.
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48

Widmayer, Jan, Aphra Behn, Janet Todd, J. Douglas Canfield, Derek Hughes, Susan J. Owen, and Katherine M. Quinsey. "Critical Theory Catches up with the "Problem Child" of English Literature: New Works in Restoration Drama." Rocky Mountain Review of Language and Literature 51, no. 2 (1997): 35. http://dx.doi.org/10.2307/1348102.

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49

Greene, John C. "“Beneath Iërne’s Banners”: Irish Protestant Drama of the Restoration and Eighteenth Century by Christopher J. Wheatley." Scriblerian and the Kit-Cats 34, no. 1-2 (2002): 98–99. http://dx.doi.org/10.1353/scb.2002.0053.

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50

Combe, K. "RICHARD KROLL, Restoration Drama and 'The Circle of Commerce': Tragicomedy, Politics, and Trade in the Seventeenth Century." Notes and Queries 56, no. 4 (November 20, 2009): 659–60. http://dx.doi.org/10.1093/notesj/gjp184.

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