By Allardyce Nicoll
Allardyce Nicoll's background of English Drama, 1660-1900 was once a tremendous scholarly success and the paintings of 1 guy. Nicoll's background, which tells the tale of English drama from the reopening of the theatres on the time of the recovery during to the top of the Victorian interval, was once considered by means of Notes and Queries (1952) as 'a nice paintings of exploration, an in depth advisor to the untrodden acres of our dramatic historical past, hitherto mostly overlooked as barren and with out interest'. The historical past is reissued in seven paperback volumes, to be had individually and as a collection. In volumes 1-5 Nicoll describes the stipulations of the degree, actors and bosses in addition to dramatic genres. The 6th and 7th volumes supply a accomplished checklist of the entire performs recognized to were produced or published in England among 1660 and 1930, with their authors and substitute titles; it has therefore autonomous price in addition to offering an index to the sooner volumes.
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Extra resources for A History of English Drama 1660-1900: Volume 4, Early Nineteenth Century Drama 1800-1850
The age of the picture-frame stage has come. The question of the actual scenic effects in these theatres is a large one, and one concerning which there is much more information to be gathered than that which may be brought together to illustrate the eighteenth century stage. No detailed analyses can be entered into here ; for those reference must be made to other volumes ; but an attempt may be 1 The Theatrical Observer of Oct. 1 6 , 1822, draws attention to the fact that, with the removal of the doors, the actors were more blended with the scenery than they had been in earlier times.
Corfe Castle on an eminence. The clicking flats of older times are mentioned in Hoskins' De Valencourt (Norwich, 1 842) : Two side scenes close in, and hide the parties1, while in the extravaganza of Valentine and Orson (Lye. 1 844) : As the Chorus is going on, theyrise and disperse about the Scene. . The flats close in 2• References, however, to the curtain at the end of acts are now frequent. G. L. 1807). With this use of the curtain must be associated that practice of final groupings and tableaux which is indicated in so many of the acting texts of the period .
G. 1 820) Daniel Terry is quite frank about the matter, confessing that how materially the Artist and Machinist contributed to the support of this piece, is manifest by the applause bestowed upon Scenery, juatly entitled to the highest praise for appropriate beauty of design and uncommon excellence of execution. If the public thus applauded scenic effects, the rhetorical question in The Covent Garden Journal 1 does not seem to be justified. " Who," asks the author, " who called upon [the managers] to produce their Pizarros, their Blue-Beards, their Sleeping Beauties, and Cinderellas ?
A History of English Drama 1660-1900: Volume 4, Early Nineteenth Century Drama 1800-1850 by Allardyce Nicoll