ABSTRACT
Theatre after 1737 strained to escape its legal constrictions, and perhaps the first genuine mavericks of British theatre emerged, edging towards a theatre embracing Dionysian, as well as the prevailing Apollonian, qualities.
Theatre after 1737 strained to escape its legal constrictions, and perhaps the first genuine mavericks of British theatre emerged, edging towards a theatre embracing Dionysian, as well as the prevailing Apollonian, qualities.