Relevant bibliographies by topics / Theater, Georgian

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Theater, Georgian'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Theater, Georgian"

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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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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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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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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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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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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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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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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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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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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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Dissertations / Theses on the topic "Theater, Georgian"

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Hill, Caroline. "Art versus Propaganda?: Georgia Douglas Johnson and Eulalie Spence as Figures who Fostered Community in the Midst of Debate." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555276218786986.

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Slusser, Dean Charles. "The relationship between high school theatre participation and the development of workplace competencies." Click here to access dissertation, 2008. http://www.georgiasouthern.edu/etd/archive/fall2008/dean_c_slusser/slusser_dean_c_200808_edd.pdf.

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Thesis (Ed.D.)--Georgia Southern University, 2008.
"A dissertation submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Doctor of Education." Directed by Barbara J. Mallory. ETD. Includes bibliographical references (p. 120-128) and appendices.
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Georgiou, Michalis [Verfasser]. "The Reception of German Theater in Greece : Establishing a Theatrical Locus Communis: The Royal Theater in Athens (1901-1906) / Michalis Georgiou." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2019. http://d-nb.info/1187619582/34.

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Armstrong, Kara Londré Felicia Hardison. "Women of Kansas City theatre mentors /." Diss., UMK access, 2004.

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Thesis (M.A.)--Dept. of Theatre. University of Missouri--Kansas City, 2004.
"A thesis in theatre." Typescript. Advisor: Felicia Hardison Londré. Vita. Title from "catalog record" of the print edition Description based on contents viewed Feb. 22, 2006. Includes bibliographical references. Online version of the print edition.
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Maglakelidse, Dinara. "Nationale Identitäten in den westdeutschen und georgischen Autorenfilmen zwischen den 60er- und 80er-Jahren." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2003. http://dx.doi.org/10.18452/14840.

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Der Ausgangspunkt der vorliegenden Dissertation ist die nationale Identitätsproblematik in den westdeutschen und georgischen Autorenfilmen zwischen den 60er- und 80er- Jahren. Die Arbeit analysiert zwei unterschiedliche, in verschiedenen sozial-kulturellen Bedingungen und unterschiedlichen politischen Systemen entwickelte Filmkulturen, die über zwei Jahrzehnte hinweg die kulturelle Szene der jeweiligen Länder besonders geprägt haben. Sie gliedert sich in mehrere Teile, die sich mit folgenden Schwerpunkten auseinandersetzen: - Die Filmsituation der jeweiligen Filmkulturen in der Nachkriegszeit und in den 50er Jahren als Vorgeschichte des Autorenfilms. - Die Entwicklung des Autorenfilms in beiden Ländern und im internationalen Vergleich. - Das Verhältnis der Autorenfilmemacher/Innen zur Frage der nationalen Identität. - Die Analyse der unterschiedlichen Aspekte, Stoffe, Motive und besonderer filmischer Sprache verschiedener westdeutscher und georgischer Autorenregisseure/Innen vor dem Hintergrund ihrer jeweiligen kulturhistorischen Spezifik. - Interviews mit westdeutschen und georgischen Autorenfilmer/Innen zu diesem Thema. - Vergleichende Gegenüberstellung der westdeutschen und georgischen Autorenfilme. Die Arbeit endet mit einer Filmographie der interpretierten Filme sowie einem Literaturverzeichnis.
The thesis analyses and compares the two different cultures of cinema in West Germany and Georgia which evolved under different sozio-cultural conditions in two different political systems and which had a strong impact on cultural life in their countries for decades. The thesis focuses on the question of national identity reflected in the West German and Georgian cinema between the 1960s and the 1980s. The thesis has following structure: - Prehistory of Autorenfilm in West Germany and Georgia: The national cinemas after World War II in the late 1940s and in the 1950s in both countries. - The evolution of the Autorenfilm in both countries between the 1960s and the 1980s in comparison to other national cinemas - The relationship of filmmakers toward the the question of national identity - Analysis of artistic aspects, motivs, themes and filmic language in the films with regard to the cultural history background in the Georgia and Westgermany. - Interviews with West German and Georgian filmmakers - Comparison of selected West German and Georgian films A filmography and a list of literature is included in the thesis.
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Goldmann, Kerry L. "Dramatizing Lynching and Labor Protest: Case Studies Examining How Theatre Reflected Minority Unrest in the 1920S and 30S." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc407832/.

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Theatre is widely unrecognized for the compelling influence it has held in society throughout history. In this thesis, I specifically examine the implications surrounding the social protest theatre of black and Jewish American minority communities in the first half of the twentieth century. I discuss how their historical circumstance, culture, and idiosyncratic natures caused them to choose agitated propaganda theatre as an avenue for protest. I delve into the similarities in circumstance, but their theatre case studies separate the two communities in the end. I present case studies of each community, beginning with anti-lynching plays of the 1920s that were written by black American playwrights both in response to white supremacist propaganda theatre and to assert a dignified representation of the black community. However, their plays and protest movement never developed a larger popular following. My next minority theatre case study is an examination of 1930s Jewish labor drama created in protest of popular anti-Semitic theatre and poor labor conditions. The Jewish community differs from the black community in their case because the racist propaganda was produced by a man who was Jewish. Another difference is that their protest theatre was on the commercial stage by this point because of a rise in a Jewish middle class and improvement of circumstance. Both the Jewish protest theatre and labor reform movements were more successful. My conclusion is a summation of black and Jewish American theatre of the era with a case study of collaboration between the communities in George Gershwin’s operetta about black Americans, Porgy and Bess. I conclude that these two communities eventually departed from circumstance and therefore had differing theatrical, political, and social experiences in America during the 1930s.
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Pate, Ronald David. "Narrative Processes in Urban Planning: A Case Study of Swamp Gravy in Colquitt, Georgia." PDXScholar, 2012. https://pdxscholar.library.pdx.edu/open_access_etds/469.

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In 1990 many in Colquitt, Georgia considered themselves to be a dying town due to the loss of jobs and outmigration that occurred when labor intensive farming transitioned to the machine. In response citizens brought in a theater director from Chicago who helped them launch a performance series of inclusive stories that were acted by local volunteers. The resulting series called Swamp Gravy has run from 1992 to present (2012), and has led to purported claims of community revitalization. The purpose of this study was to discover what this ongoing narrative community engagement meant to the people of Colquitt in regards to: community experiences that produced new relationships (including those between Blacks and Whites); personal empowerment; the coproduction of an emerging and diverse community identity; and institutional and economic development. Methods for this case study included narrative interviews of participants, attendees and local citizens, as well as observation of the town and the performances, and document analysis. Many participant volunteers and attendees became Swamp Gravy enthusiasts, and describe their experiences as coming out into a meaningful experience of community, which included forming relationships with diverse others (including those of a different race). The enthusiasts speak of growing into larger community responsibilities with others for the common good, and feel that ongoing and inclusive storytelling is very important to coproducing a diverse heritage that informs the future of their city. Other attendees (predominantly the business community) describe the benefits of Swamp Gravy as instrumental to having given the town recognition (identity) as an entertaining tourist attraction that exposed individual talent, boosted individual confidence, and enhanced social connectivity. Others in Colquitt were indifferent or resistive to the coming out that the performances invite. Most everyone recognizes that Swamp Gravy has attracted outside tourists which has boosted economic development, occasioned the renovation of downtown Colquitt square and the formation of institutions to continue to attract and accommodate visitors from afar. This case is theorized in terms of the emerging communicative turn in planning that juxtaposes the planner as mediator or facilitator, and stakeholders as co-producers. The findings in this case study support that the Swamp Gravy form of narrative process has some potential for guiding stakeholders to a just diversity in cities, neighborhoods and towns, and as such should be studied further. Urban planning in situations of urban renewal may be one place where utilizing this form of meaningful engagement could lead to discovery of new identities, which may both inform and motivate a just plan to be coproduced.
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Jacobs, Angela F. "Prelude to a Saturday Nighter." University of Dayton / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1281357729.

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Ellerbee, Jason L. "African American theaters in Georgia preserving an entertainment legacy /." 2004. http://purl.galileo.usg.edu/uga%5Fetd/ellerbee%5Fjason%5Fl%5F200408%5Fmhp.

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"The Songs of Georgia Stitt Hybridity: Art Song and Musical Theatre." Doctoral diss., 2018. http://hdl.handle.net/2286/R.I.49171.

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abstract: A resurgence of the American art song is underway. New art song composers such as Adam Guettel, Michael John LaChiusa, and Georgia Stitt are writing engaging and challenging songs that are contributing to this resurgence of art song among college students. College and University musical theatre programs are training performers to be versatile and successful crossover artists. Cross-training in voice is training a performer to be capable of singing many different genres of music effectively and efficiently, which in turn creates a hybrid performer. Cross-training and hybridity can also be applied to musical styles. Hybrid songs that combine musical theatre elements and classical art song elements can be used as an educational tool and create awareness in musical theatre students about the American art song genre and its origins while fostering the need to learn about various styles of vocal repertoire. American composers Leonard Bernstein and Ned Rorem influenced hybridity of classical and musical theatre genres by using their compositional knowledge of musicals and their classical studies to help create a new type of art song. In the past, academic institutions have been more accepting of composers whose careers began in classical music crossing between genres, rather than coming from a more popularized genre such as musical theatre into the classical world. Continued support in college vocal programs will only help the new hybrid form of American art song to thrive. Trained as a classical pianist and having studied poetry and text setting, Georgia Stitt understands the song structure and poetry skills necessary to write a contemporary American art song. This document will examine several of Carol Kimball’s “Component of Style” elements, explore other American composers who have created a hybrid art song form and discuss the implementation of curriculum to create versatile singers. The study will focus on three of Georgia Stitt’s art songs that fit this hybrid style and conclude with a discussion about the future of hybridity in American art song.
Dissertation/Thesis
Doctoral Dissertation Music 2018
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Books on the topic "Theater, Georgian"

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

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

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

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

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

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

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

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

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

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

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Book chapters on the topic "Theater, Georgian"

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Kuch, Birgit. "Der Transfer imperialer Praktiken nach Georgien : Oper und Ethnografie in Tiflis." In Kulturpolitik und Theater, 247–64. Wien: Böhlau Verlag, 2012. http://dx.doi.org/10.7767/boehlau.9783205792048.247.

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"Georgia." In World Encyclopedia of Contemporary Theatre, 339–53. Routledge, 2013. http://dx.doi.org/10.4324/9781315012728-29.

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Baer, Marc. "Theatre, Culture, and Society." In Theatre and Disorder in Late Georgian London, 39–64. Oxford University Press, 1992. http://dx.doi.org/10.1093/acprof:oso/9780198112501.003.0004.

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Baer, Marc. "Theatre and the Constitution." In Theatre and Disorder in Late Georgian London, 65–88. Oxford University Press, 1992. http://dx.doi.org/10.1093/acprof:oso/9780198112501.003.0005.

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Baer, Marc. "Theatre and Popular Politics." In Theatre and Disorder in Late Georgian London, 115–32. Oxford University Press, 1992. http://dx.doi.org/10.1093/acprof:oso/9780198112501.003.0007.

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"Academic Publications of Georgia Xanthakis-Karamanos." In Theatre World, 351–56. De Gruyter, 2017. http://dx.doi.org/10.1515/9783110519785-022.

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Baer, Marc. "Introduction: Theatre, Theatricality, and Disorder." In Theatre and Disorder in Late Georgian London, 9–17. Oxford University Press, 1992. http://dx.doi.org/10.1093/acprof:oso/9780198112501.003.0002.

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Baer, Marc. "Theatre, the Politicians, and the Press." In Theatre and Disorder in Late Georgian London, 89–114. Oxford University Press, 1992. http://dx.doi.org/10.1093/acprof:oso/9780198112501.003.0006.

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"The Theatrical Context – the Georgian Theatre in England." In The Theatre of Shelley, 21–52. Open Book Publishers, 2010. http://dx.doi.org/10.2307/j.ctt5vjtct.8.

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Mulhallen, Jacqueline. "The Theatrical Context: The Georgian Theatre in England." In The Theatre of Shelley, 21–51. Open Book Publishers, 2010. http://dx.doi.org/10.11647/obp.0011.01.

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You might also be interested in the extended bibliographies on the topic 'Theater, Georgian' for particular source types:
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