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020 _a9783031522093
_9978-3-031-52209-3
024 7 _a10.1007/978-3-031-52209-3
_2doi
050 4 _aPN1560-1590
050 4 _aPN2000-3307
072 7 _aAN
_2bicssc
072 7 _aPER000000
_2bisacsh
072 7 _aAT
_2thema
100 1 _aRoberts, David.
_eauthor.
_4aut
_4http://id.loc.gov/vocabulary/relators/aut
_972433
245 1 0 _aStaging Restoration Comedy
_h[electronic resource] :
_bThe Royal Shakespeare Company, 1967-2019 /
_cby David Roberts.
250 _a1st ed. 2024.
264 1 _aCham :
_bSpringer Nature Switzerland :
_bImprint: Palgrave Macmillan,
_c2024.
300 _aIX, 90 p.
_bonline resource.
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
520 _a“This insightful book tells a neglected story: the history of RSC’s Restoration productions. It combines a loving history of RSC past performance, from the 1960s to the present day, with a bold manifesto for the future. Highly recommended!”– Professor Tiffany Stern, The Shakespeare Institute, University of Birmingham, UK Since its 1967 production of Vanbrugh’s The Relapse, the Royal Shakespeare Company has been the world’s leading producer of Restoration Comedies. This book is the first to document and critique the company’s history of engagement with that repertoire. It reviews the spaces in which productions have been performed, design principles, casting, voicing, textual adaptation, musical direction, actor perspectives, and the problems of how to confront, adopt or depart from received notions of Restoration style. It goes on to posit that, for all the RSC’s explorations of Restoration Comedy, the company has maintained the repertoire as a fringe interest played out in niche spaces, while recycling many of the assumptions it claims to challenge, and that what is needed is the writer-led intervention seen in RSC and National Theatre adaptations of French drama from the same period. Only then can Restoration Comedy begin to engage wider audiences in new sites of political, historical and cultural meaning. David Roberts is Professor of English at Birmingham City University, UK. He has published numerous books and articles about Restoration and earlier seventeenth-century theatre, including the monographs The Ladies: Female Patronage of Restoration Drama (1989), Thomas Betterton (2010), Restoration Plays and Players (2014) and George Farquhar: A Migrant Life Reversed (2018), and editions, including Pinacotheca Bettertonaeana: the Library of a Seventeenth-Century Actor (2013), Congreve’s The Way of the World (2020) and An Apology for the Life of Mr Colley Cibber (2022). David has published articles in, among others, Shakespeare Quarterly, ELH, The Cambridge Quarterly, New Theatre Quarterly, The Review of English Studies and The Times Literary Supplement. Recent commissioned chapters include essays for The Oxford Handbook of Shakespeare and Music (2022), The Oxford Handbook of Restoration Literature (2024) and The Palgrave Handbook of Theatre Censorship (2024). .
650 0 _aPerforming arts.
_967607
650 0 _aTheater.
_966691
650 0 _aTheater
_xHistory.
_966689
650 0 _aTheater
_xProduction and direction.
_966692
650 0 _aEuropean literature
_xRenaissance, 1450-1600.
_967445
650 1 4 _aTheatre and Performance Arts.
_967611
650 2 4 _aTheatre History.
_966693
650 2 4 _aTheatre Direction and Production.
_966697
650 2 4 _aEarly Modern and Renaissance Literature.
_967447
710 2 _aSpringerLink (Online service)
773 0 _tSpringer Nature eBook
776 0 8 _iPrinted edition:
_z9783031522086
776 0 8 _iPrinted edition:
_z9783031522109
776 0 8 _iPrinted edition:
_z9783031522116
856 4 0 _uhttps://doi.org/10.1007/978-3-031-52209-3
912 _aZDB-2-LCM
912 _aZDB-2-SXL
999 _c58113
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