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Relevant bibliographies by topics / Victorian drama

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Academic literature on the topic 'Victorian drama'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Victorian drama"

1

Kardiansyah, M. Yuseano. "English Drama in the Late of Victorian Period (1880-1901): Realism in Drama Genre Revival." TEKNOSASTIK 15, no. 2 (October 18, 2019): 64. http://dx.doi.org/10.33365/ts.v15i2.100.

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A progressive growth in literature was seen significantly during Victorian period. These decades also saw an overdue revival of drama, in which the existence of drama was started to improve when entering late of Victorian period. Along with that situation, Thomas William Robertson (1829-1871) emerged as a popular drama writer at that time besides the coming of Henrik Ibsen’s works in 1880’s. However, Robertson’s popularity was defeated by other dramatists during late of Victorian period (1880-1901), drama writer like Oscar Wilde (1854-1900). Beside Wilde, there were several well known dramatists during late of Victorian period. Dramatists as Shaw, Jones, and Pinero were also influential toward the development of drama at that time. In the discussion of English drama development, role of late Victorian period’s dramatists was really important toward the development of modern drama. Their works and efforts really influenced the triumph of realism and development of drama after Victorian period ended. Therefore, the development of drama during late of Victorian period is discussed in this particular writing, due to the important roles of dramatist such as Wilde, Shaw, Pinero, and Jones. Here, their roles to the revival of English drama and the trend of realism in the history of English literature are very important.

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Powell, Kerry, and Anthony Jenkins. "The Making of Victorian Drama." Theatre Journal 44, no. 3 (October 1992): 414. http://dx.doi.org/10.2307/3208567.

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Smith, Julianne. "Victorian Drama and Undergraduate Periodical Research." Victorian Periodicals Review 39, no. 4 (2006): 357–64. http://dx.doi.org/10.1353/vpr.2007.0011.

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Demoor, Marysa. "Anthony Jenkins, The Making of Victorian Drama." Documenta 10, no. 3 (April 21, 2019): 260–63. http://dx.doi.org/10.21825/doc.v10i3.10846.

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Eriks Cline, Lauren. "The Long Run of Victorian Theater." Victorian Literature and Culture 48, no. 3 (2020): 623–31. http://dx.doi.org/10.1017/s106015032000025x.

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It's March 2020 as I write this, and the theaters are closed. Broadway is dark, and the Globe is once again shut due to a plague. Perhaps “self-isolation” is a strange condition under which to be thinking about crowded Victorian playhouses. As I make dates to watch movies with friends hundreds of miles away on the Netflix Party app, the media environment in which I pursue entertainment has perhaps never felt more dissimilar to that of nineteenth-century theatergoers. But, then again, maybe the photos of empty auditoria and deserted streets are the best demonstration of the space that public culture has taken up in our lives. The vacuum shows us that what's missing mattered. And if scholars of Victorian theater have shared a primary goal, it's to insist on how deeply the collective experience of playgoing influenced the everyday practices and beliefs of the period—even when theater and drama may not always appear on Victorian syllabi or conference programs. This essay considers three recent studies in Victorian theater—The Cambridge Companion to English Melodrama (2018), edited by Carolyn Williams; The Drama of Celebrity (2019), by Sharon Marcus; and Everyone's Theater: Literature and Daily Life in England, 1860–1914 (2019), by Michael Meeuwis—to register the force that theatrical performance exerted on Victorians and to explore how that force could change our sense of the field. By dwelling with archives and objects that might otherwise get classed as cultural “ephemera,” these studies push us to acknowledge that the run of Victorian theater hasn't ended. In the collective pause before a moment of intense feeling, or in a contradictory attachment to a public figure who is both imitable and extraordinary, they find a repertoire of spectator behavior from which many of our own modes of attention derive.

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LaPorte, Charles. "Aurora Leigh, A Life-Drama, and Victorian Poetic Autobiography." SEL Studies in English Literature 1500-1900 53, no. 4 (2013): 829–51. http://dx.doi.org/10.1353/sel.2013.0044.

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Davis, Tracy C. "The Employment of Children in the Victorian Theatre." New Theatre Quarterly 2, no. 6 (May 1986): 117–35. http://dx.doi.org/10.1017/s0266464x00002013.

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The public nature of their work should seemingly have ensured that children employed in the Victorian theatre enjoyed better conditions than their brothers and sisters, so often suffering on one of those treadmills at which the virtuous Victorians set their offspring to work. Yet little is known of the actuality of their experiences, and the present article represents a pioneering investigation into the area. Drawing on the researches of contemporary social reformers as well as on the reminiscences of the children themselves and of their employers and colleagues, Tracy C. Davis, who teaches in the Department of Drama at Queen's University, Kingston, Canad, presents an intriguing picture of exploitation mixed with adulation, and a pervasive muddle of defensive indifference, gradually brought within the bounds of well-intentioned legislation.

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Radford, Fred. "Domestic drama and drama of empire: Intertextuality and the subaltern woman in late victorian theatre." Nineteenth-Century Contexts 20, no. 1 (January 1997): 1–25. http://dx.doi.org/10.1080/08905499708583438.

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Goldhill. "See Josephus: Viewing First-Century Sexual Drama with Victorian Eyes." Victorian Studies 51, no. 3 (2009): 470. http://dx.doi.org/10.2979/vic.2009.51.3.470.

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Miller, John MacNeill. "When Drama Went to the Dogs; Or, Staging Otherness in the Animal Melodrama." PMLA/Publications of the Modern Language Association of America 132, no. 3 (May 2017): 526–42. http://dx.doi.org/10.1632/pmla.2017.132.3.526.

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For much of the nineteenth century, nonhuman animals shared the English stage with human performers in a series of popular, widely produced quadruped dramas. Work in animal studies and performance theory overlooks this phenomenon when it laments theater's unbroken history of animal exclusion—a notion of exclusion that quadruped dramas actually helped propagate and reinforce. The animal melodramas produced through the Victorian era featured animal characters whose appeal depended on the perceived otherness of animal actors, especially the knowledge that animals did not so much act in the drama as perform set responses to subtle, real-world cues from their trainers. Playwrights used animals' imperfect integration in the dramatic illusion to inject an uncanny sense of reality into their melodramatic plots. Their experiments with estrangement admit the difficulties of animal performance by explicitly staging animal otherness—but only as a spur to deepen human engagement with the more-than-human world.

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Dissertations / Theses on the topic "Victorian drama"

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Schuyler, Susan Amanda. "Crowd control : reading Victorian popular drama /." May be available electronically:, 2007. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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Reiff, Marija. "The syncretic stage: religion and popular drama during the fin de siècle." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6254.

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This dissertation examines the popular theatre of the late-nineteenth century and focuses on the most commercially successful and popular playwrights of the era: Henry Arthur Jones, Arthur Wing Pinero, and Oscar Wilde. Looking at the major popular playwrights reveals that the commercial stage had different concerns than the avant-garde theatre of Ibsen and Shaw. Foremost among these concerns was religion, and starting with Jones’s 1884 play Saints and Sinners, a massive change swept through the commercial stage as religious prejudice and official censorship fell by the wayside. In its place, religion started to become a topic that was once again seen as acceptable, and the fin de siècle stage was awash with syncretic religious views. This syncretism was aided by the publication of scripts and the religious pluralism of the day. Though publication aided the literary and religious quality of the texts, they were crafted as staged works, complete with the shared, collective experiences and emotions of the audience, a collective affect that mimics the collective emotional experience of a congregation in a church, and the stage thus became one of the largest venues for ecumenical religion during the late-Victorian era. The alacrity with which this happened challenges not only the common conception of the secularization of the late-Victorian stage, but also of the larger culture

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Anderson, Haley D. "Female Agency in Restoration and Nineteenth-Century Drama." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1560.

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This thesis examines issues of female agency in the plays The Rover and The Widow Ranter by Aphra Behn, Mrs. Warren's Profession by George Bernard Shaw, and Votes for Women! by Elizabeth Robins. The heroines of each of these plays work toward gaining agency for themselves, and in order to achieve this goal, they often stray from cultural norms of femininity and encroach on the masculine world. This thesis postulates that agency for women becomes a fluid notion, not statically defined. These plays show a fluctuating and evolving sense of feminine agency.

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Steffes, Annmarie. "Between page and stage: Victorian and Edwardian women playwrights and the literary drama, 1860-1910." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5642.

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This study focuses on a series of late-century works by women writers that incorporate facets of theatrical performance into the printed book. Literary drama was a common genre of the Victorian and Edwardian period, used by writers such as Robert Browning, Alfred Tennyson, and Matthew Arnold to elevate drama to the status of literature, a term synonymous with the printed page and the experience of reading. However, this project examines a series of women writers who, in contrast, used this hybrid form to challenge the assumed superiority of text. The values ascribed to the printed page—that it was a disembodied enterprise unattached to the whims of its audience or the particularities of its author—were antithetical to the experiences of women writers, whose work was often read in the context of their gendered bodies. My study proceeds chronologically, reading the literary dramas of five writers—George Eliot, Augusta Webster, Katharine Bradley and Edith Emma Cooper (writing under the pseudonym “Michael Field”), and Elizabeth Robins—alongside changes in print practice and theatrical staging as well as evolving discourses about “literariness.” I argue that these women allude to theatrical performance in the text to show that the page always bears the physical traces of its authors and its audience. Each chapter blends book studies with performance studies, showing the way the form of a work invites particular responses from its readers. Overall, this project has two goals: one, to recover marginalized texts by women writers and revise narratives about the period to incorporate these pieces; and two, to span the scholarly chasm between Victorian poetry and drama and demonstrate, instead, the mutually constitutive relationship of these two art forms.

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Rodriguez, Mia U. "Medea in Victorian Women's Poetry." University of Toledo Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1355934808.

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Hill, Leslie Anne. "Theatres and friendships : the spheres and strategies of Elizabeth Robins." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/17879.

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Victorian women used strategies that allowed them to not only work as actresses but also as directors, producers, translators, and playwrights, thus transforming theatre at the cusp of the New Drama. Female friendships were particularly integral to these strategies as women employed secretiveness and anonymity, charm and shrewdness, networking and collaborating in small and large groups to meet their creative and professional goals. Through these means of sociability women enlarged their spheres of influence beyond the stage. Elizabeth Robins is a superb example of these strategies, particularly when theatrical realism was her primary focus. Though she also collaborated well with men, William Archer and Henry James among them, it was Robins’s female friends who helped her to establish a London career. This project shows how Robins and her women friends contributed to the New Drama in dynamic, critical, and often-secret ways. Marion Lea and Robins finagled the rights to Hedda Gabler in 1891. Lea and Florence Bell helped Robins to translate plays for production and to develop new acting techniques suited to realism. After Lea left England, Robins and Bell joined Grein’s Independent Theatre Society to present their anonymously written protest play Alan’s Wife. These efforts illustrate the adaptive functions of female friendships. Through closer examination of their relationships, particularly the one Robins and Bell called a sisterhood, we see the nurturing functions of female friendships. This project explains some of the reasons why, despite being famous in their day, these women disappeared from history. It was not just because of male control of the theatre, but was also a product of their own desires to protect themselves. Secrecy had served them well in the 1890s, but their fame faded as even friends forgot them. Yet, since female socialization taught them to be group-focused, these women’s stories are highly pertinent to the history of the theatre, an art form that is collaborative by its nature. Through study of their work and their relationships, we can fill some gaps in theatre history, women’s history, and nineteenth-century history, adding resonance to their voices that may carry to coming generations.

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Weber, Minon. "Rediscovering Beatrice and Bianca: A Study of Oscar Wilde’s Tragedies The Duchess of Padua (1883) and A Florentine Tragedy (1894)." Thesis, Stockholms universitet, Engelska institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-184574.

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Towards the end of the 19th century Oscar Wilde wrote the four society plays that would become his most famous dramatical works: Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895). The plays combined characteristic Wildean witticisms with cunning social criticism of Victorian society, using stereotypical characters such as the dandy, the fallen woman and the “ideal” woman to mock the double moral and strict social expectations of Victorian society. These plays, and to an extent also Wilde’s symbolist drama Salomé (1891), have been the object of a great deal of scholarly interest, with countless studies conducted on them from various angles and theoretical perspectives. Widely under-discussed, however, are Wilde’s two Elizabethan-Jacobean tragedies, The Duchess of Padua (1883) and A Florentine Tragedy (1894). This thesis therefore sets out to explore The Duchess of Padua and A Florentine Tragedy in order to gain a broader understanding of Wilde’s forgotten dramatical works, while also rediscovering two of Wilde’s most transgressive female characters—Beatrice and Bianca. Challenging traditional ideas of gender and female sexuality, Beatrice and Bianca can be read as proto-feminist figures who continually act transgressively, using their voice and agency to stand up against patriarchy and asserting their rights to experience their lives on their own terms. Through an in-depth study of these plays, this thesis will demonstrate that Wilde’s Elizabethan-Jacobean tragedies, with their strong, modern female characters Beatrice and Bianca deserve greater critical attention on a par with the extensive scholarship on Wilde’s well-known dramatical works.

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Tener, John V. "Exhibiting the Victorians: Melodrama and Modernity in Post Civil War American Show Prints." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu149259715322474.

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Hashem, Hanan. "Satire des règles du savoir-vivre sous le Second Empire : approche sociopoétique de la comédie chez Emile Augier, Alexandre Dumas fils et Victorien Sardou." Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAC002.

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Émile Augier, Alexandre Dumas fils et Victorien Sardou figurent parmi les dramaturges les plus importants du Second Empire (1852-1870). À travers cette étude, nous nous proposons d’examiner les comédies de mœurs de ces auteurs sous l’angle de la sociopoétique pour ce qui concerne les règles du savoir-vivre et les bonnes manières, examinées dans leur fonction dramatique et théâtrale. Nous nous sommes attachée à l’étude de l’esthétique théâtrale du savoir-vivre qui englobe le lieu (Paris), les personnages (les mondaines et demi-mondaines, les mondains et les domestiques) et les moyens de communication à distance (la lettre et les cartes). Nous nous sommes ensuite penchée sur le caractère spectaculaire du savoir-vivre, à savoir la «distinction» ou la mise en scène de soi, la gestuelle des salutations, les «toilettes tapageuses» et les arts de la table. Les composantes des codes de politesse permettent de parler d’une dramaturgie du savoir-vivre qui caractérise les comédies de mœurs. Cette dramaturgie, que d’aucuns estiment surannée, reflète toutefois les usages représentatifs d’une époque
Émile Augier, Alexandre Dumas fils and Victorien Sardou appear among the most important dramatists of the Second Empire era (1852-1870). In this thesis, comedies of manners of these authors are considered from a “socio-poetical” point of view. Rules of etiquette and good manners are analyzed in their dramatic and theatrical function. Theatrical aesthetic of manners which includes locality (Paris), characters (mondaines and demi-mondaines, mondains and servants), and media of communication (letters and cards), is examined first. Afterwards, spectacular aspects of good manners are studied : “distinction”, greeting’s gesture, outfits and “arts de la table”. Components of rules of etiquette lead to think of a certain dramaturgy of good manners which are characteristic of comedy of manners. This dramaturgy, which is considered as ‘old fashioned’ by some people, reflects however typical manners of an epoch

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Wiet, Victoria. "Eccentric Conduct: Theatre and the Pleasures of Victorian Fiction." Thesis, 2019. https://doi.org/10.7916/d8-68wh-p128.

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This dissertation uses the concept of erotic conduct to rethink theatre’s role in Victorian society and its influence on the novel more specifically. Though uncommon today, the term “conduct” was widely used by Victorian commentators seeking to identify what facets of erotic experience were most important to social life and the formation of individual character. Instead of parsing the pathologies of desire, as Michel Foucault would lead us to expect, commentators directed their attention to volitional—and often habitual—behaviors that took pleasing erotic sensations as their primary end. Such conduct transpired in all spaces of everyday life, but this project turns to a diverse set of archival sources to make the case that it was conduct at the theatre that held the greatest fascination. A mass culture of an exceptional magnitude, situated in discrete physical spaces, the Victorian commercial theatre provided ample opportunities for both fleeting and enduring encounters between people who weren’t married or even necessarily of the opposite sex. This dissertation shows how new varieties of sexual character emerged at the theatre, where they were either tacitly permitted or flamboyantly indulged: the imperious actress; the ardent female spectator; the cruising sodomite; and the female dandy. Drawing on a breadth of archival research, "Eccentric Conduct" makes the case that just as the theatre affected the erotic habits of many Victorians, so did it influence the storytelling habits of many Victorian novels. Explicit depictions of performers and theatergoing have led many critics to characterize the Victorian novel as anti-theatrical, eschewing the fleshly and meretricious matter of live performance in favor of representing the superior qualities of privacy, domesticity and moral continence associated with the bourgeois home. This project counters this view by uncovering the subtler yet more pervasive influence theatre had on the characters, vocabulary, images and narrative devices of realist fiction. Novelists most often deployed theatrically-derived storytelling habits when seeking to represent pleasures inconsistent with the institution of patriarchal marriage. Instead of imitating the disciplinary conduct of the police or patriarch, to which the novel is often compared, novels by Eliot and Hardy sought to convey and thus promote the pleasures they also represented. In order to make theatre’s effect on the metalanguage of Victorian fiction intelligible, I reconstruct the conduct to which novelists elude by juxtaposing artifacts such as theatergoing diaries, scrapbooks, trial records and cabinet photographs alongside the “actress novel” genre, Middlemarch, Teleny, The Heavenly Twins, and Jude the Obscure.

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Books on the topic "Victorian drama"

1

Jenkins, Anthony. The making of Victorian drama. Cambridge [England]: Cambridge University Press, 1991.

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Gardley, Marcus. The Victorian: A short drama. New York: Playscripts, Inc., 2010.

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The Victorian scene. Amersham, Bucks: Hulton Educational, 1985.

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King, Neil. The Victorian scene. Amersham: Hulton Educational, 1985.

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Paul, Turner. Victorian poetry, drama, and miscellaneous prose, 1832-1890. Oxford: Clarendon Press, 1990.

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The Oxford History of English Literature: Victorian Poetry, Drama and Miscellaneous Prose, 1832-1890. Oxford [Oxfordshire]: Clarendon Press, 1997.

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1895: Drama, disaster and disgrace in late Victorian Britain. Edinburgh: Edinburgh University Press, 2011.

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Barbara, Dennis. The Victorian novel. Cambridge, U.K: Cambridge University Press, 2000.

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Huberman, Jeffrey H. Late Victorian farce. Ann Arbor, Mich: UMI Research Press, 1986.

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Theatre in the Victorian Age. Cambridge: Cambridge University Press, 1991.

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Book chapters on the topic "Victorian drama"

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Scullion, Adrienne. "Verse Drama." In A Companion to Victorian Poetry, 187–203. Oxford, UK: Blackwell Publishers Ltd, 2008. http://dx.doi.org/10.1002/9780470693537.ch10.

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Fischler, Alan. "Drama." In A Companion to Victorian Literature and Culture, 339–55. Oxford, UK: Blackwell Publishing Ltd, 2017. http://dx.doi.org/10.1002/9781405165358.ch23.

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Fischler, Alan. "Drama." In A New Companion to Victorian Literature and Culture, 364–80. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118624432.ch24.

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Christian, Mary. "Wilde’s Personal Drama." In Marriage and Late-Victorian Dramatists, 45–79. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-40639-4_3.

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Smith, Julianne. "Teaching the “Forgotten” Genre: Victorian Drama." In Teaching Victorian Literature in the Twenty-First Century, 167–79. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58886-5_12.

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Hurren, Elizabeth T. "A Dissection Room Drama: English Medical Education." In Dying for Victorian Medicine, 74–115. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230355651_3.

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Christian, Mary. "Doll and Director: Ibsen’s Old and New Drama." In Marriage and Late-Victorian Dramatists, 21–44. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-40639-4_2.

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Christian, Mary. "A Woman’s Play: Elizabeth Robins and Suffrage Drama." In Marriage and Late-Victorian Dramatists, 161–98. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-40639-4_7.

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Caws, Mary Ann. "Against Completion: Ruskin’s Drama of Dream, Lateness and Loss." In Sex and Death in Victorian Literature, 107–19. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-10280-8_6.

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Bratton, Jacky. "What Is a Play? Drama and the Victorian Circus." In The Performing Century, 250–62. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230589483_14.

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