The Languages of Performance in British Romanticism

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Lilla Maria Crisafulli
511 g
226x149x22 mm

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Contents: Lilla Maria Crisafulli/Cecilia Pietropoli: Introduction - Paul Hamilton: Drama as the Motor of Romantic Theory - Claudia Corti: Discursive Cross-References and Genre Interferences in Romantic Theory and Practice of Dramatic Art - Riccardo Capoferro: The Fall of Prometheus: Form and Ideology in Three Romantic Tragedies - Massimiliano Demata: Francis Jeffrey, the Edinburgh Review and National Theatre - Michael Rossington: Beyond Nation: Shelley's European Dramas - Lilla Maria Crisafulli: 'I write every day more earnestly and more seriously': Letitia Elizabeth Landon's History Play Castruccio Castrucani - Cecilia Pietropoli: The Story of the Foscaris, a Drama for Two Playwrights: Mary Mitford and Lord Byron - Nicoletta Caputo: Edmund Kean or 'the Romantic Actor' - Fabio Liberto: Visions, Dreams and Reality: Charles Lamb and the Inward 'Topography' of Shakespeare's Plays - Fredric V. Bogel: 'A Personated Passion': Sentiment, Performance and Mechanism in Mackenzie's The Man of Feeling - Lia Guerra: 'The Great Theatre of the World': Edmund Burke's Dramatic Perspective - Carlotta Farese: From German into English, from Novel into Play: Lovers' Vows and Das Kind der Liebe - Tomaso Kemeny: Walter Scott and the Ghosts of Melodrama - Serena Baiesi/Fabio Liberto: Appendix - The Romantics' Debate on Theatre and Drama: a Selected Anthology.
This volume presents a selection of essays by established Italian and international scholars in the field of Romantic drama. It is divided into four main sections: 1) Dramatic Theory and Practice; 2) On the Romantic Stage: History, Arts, and Acting; 3) Interaction of Genres: from Fiction to Drama; 4) The Romantics' Debate on Theatre and Drama: a Selected Anthology. The crucial area of debate these essays address is the way in which the problem of the dramatic representation of the self becomes in Romantic drama the very centre of reflection on the constitution of the modern subject. Each essay explores one or more aspects of the formation of modern subjectivity through dramatic representation of the self and through critical enquiry into the modes of that representation. The first and the fourth sections discuss the complex interaction between the theoretical questions that animated the debate around the Romantic theatre and the multifarious and often unruly performance practices of the time. The other two sections deal with the many and diverse ways in which Romantic drama engaged with and incorporated other artistic genres such as painting, performing arts, music, and the novel.