ABSTRACT

An Illustrated History of British Theatre and Performance chronicles the history and development of theatre from the Roman era to the present day. As the most public of arts, theatre constantly interacts with changing social, political and intellectual movements and ideas, and Robert Leach’s masterful work restores to the foreground of this evolution the contributions of women, gay people and ethnic minorities, as well as the theatres of the English regions, and of Wales and Scotland.

Highly illustrated chapters trace the development of theatre through major plays from each period; evaluations of playwrights; contemporary dramatic theory; acting and acting companies; dance and music; the theatre buildings themselves; and the audience, while also highlighting enduring features of British theatre, from comic gags to the use of props.

This first volume spans from the earliest forms of performance to the popular theatres of high society and the Enlightenment, tracing a movement from the outdoor and fringe to the heart of the social world. The Illustrated History acts as an accessible, flexible basis for students of the theatre, and for pure fans of British theatre history there could be no better starting point.

 

chapter |4 pages

Prologue: The Romans in Britain

part One|93 pages

Theatre before theatres

chapter |3 pages

Timeline

chapter 1|3 pages

The earliest British performances

chapter 2|8 pages

Performing power

chapter 3|7 pages

Playing and performing

chapter 4|8 pages

The Christian epic

chapter 5|4 pages

Didactic drama

chapter 6|9 pages

Outdoor performance

chapter 7|4 pages

The beginnings of professional theatre

chapter 8|8 pages

Secular drama

chapter 9|6 pages

Theatre in Scotland before 1600

chapter 10|7 pages

Indoor performance

chapter 11|5 pages

Theorising Tudor theatre

chapter 12|7 pages

Fooling and clowning

chapter 13|5 pages

The struggle for control

chapter |7 pages

Interlude: The Queen’s Men

part Two|128 pages

Open air public theatres

chapter |3 pages

Timeline

chapter 14|7 pages

Queen Elizabeth and the drama

chapter 15|8 pages

The first permanent theatres

chapter 16|7 pages

Plays and players in the 1570s and 1580s

chapter 17|10 pages

Jigs and jig-makers

chapter 19|11 pages

Shakespeare and the Lord Chamberlain’s Men

chapter 20|11 pages

The Admiral’s Men at the Rose Theatre

chapter 21|9 pages

Staging in the open air playhouse

chapter 22|10 pages

Acting in the open air playhouse

chapter 23|9 pages

Elizabethan and Jacobean

chapter 24|10 pages

Life of the Globe

chapter 25|9 pages

Popular theatres, 1600–42

chapter 26|7 pages

Popular audiences in the open air theatres

part Three|135 pages

Cavalier theatre

chapter |4 pages

Timeline

chapter 27|7 pages

The Stuart monarchy and the theatre

chapter 28|8 pages

A Game at Chess

chapter 30|10 pages

Beeston’s Boys and the Sons of Ben

chapter 31|6 pages

Playgoing in the private theatres

chapter 33|11 pages

Theatre when the theatres were closed

chapter 34|6 pages

The Restoration narrative

chapter 35|9 pages

The Royal Patents

chapter 36|7 pages

The Restoration playhouse

chapter 37|14 pages

Plays on the Restoration stage

chapter 38|10 pages

Restoration actors and acting

chapter 39|6 pages

The Restoration audience

chapter 40|8 pages

The end of Cavalier theatre

chapter |5 pages

Interlude: Dramatick opera

part Four|116 pages

Theatre and bourgeois society

chapter |3 pages

Timeline

chapter 41|4 pages

A Glorious Revolution

chapter 42|13 pages

New age, new plays

chapter 43|11 pages

The actors’ co-operative

chapter 44|8 pages

Immorality and profaneness

chapter 45|8 pages

London theatre in the reign of Queen Anne

chapter 46|9 pages

Augustan drama

chapter 48|12 pages

Provincial theatre, 1660–1740

chapter 49|7 pages

Theatre in the reign of George I

chapter 50|8 pages

Pantomime and ballad opera

chapter 51|14 pages

After The Beggar’s Opera

London theatre in the 1730s

chapter 52|5 pages

1737

part Five|132 pages

Theatre and enlightenment

chapter |3 pages

Timeline

chapter 53|7 pages

After 1737

chapter 54|14 pages

The patent theatres, 1737–77

chapter 55|15 pages

Garrick and acting

Romantic realism

chapter 56|11 pages

The Scottish Enlightenment and theatre

chapter 57|6 pages

Mavericks

chapter 59|16 pages

The provincial circuits

chapter 60|8 pages

The London theatres of Sheridan and Kemble

chapter 61|13 pages

Defining the nation

Plays and playwrights of the late eighteenth century

chapter 62|15 pages

Siddons and acting

Romantic classicism

chapter 63|11 pages

Whose theatre?