000			02029nam a22002897a 4500
001			sulb-eb0015576
003			BD-SySUS
005			20160405134438.0
008			130220s2013||||enk o ||1 0|eng|d
020			_a9781107338791 (ebook)
020			_z9781107043602 (hardback)
040			_aUkCbUP _beng _erda _cUkCbUP
050	0	0	_aPN2593 _b.W67 2013
082	0	0	_a792.0941/033 _223
100	1		_aWorrall, David, _eauthor.
245	1	0	_aCelebrity, Performance, Reception : _bBritish Georgian Theatre as Social Assemblage / _cDavid Worrall.
264		1	_aCambridge : _bCambridge University Press, _c2013.
300			_a1 online resource (311 pages) : _bdigital, PDF file(s).
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
500			_aTitle from publisher's bibliographic system (viewed on 04 Apr 2016).
520			_aBy 1800 London had as many theatre seats for sale as the city's population. This was the start of the capital's rise as a centre for performing arts. Bringing to life a period of extraordinary theatrical vitality, David Worrall re-examines the beginnings of celebrity culture amidst a monopolistic commercial theatrical marketplace. The book presents an innovative transposition of social assemblage theory into performance history. It argues that the cultural meaning of drama changes with every change in the performance location. This theoretical model is applied to a wide range of archival materials including censor's manuscripts, theatre ledger books, performance schedules, unfamiliar play texts and rare printed sources. By examining prompters' records, box office receipts and benefit night takings, the study questions the status of David Garrick, Sarah Siddons and Edmund Kean, and recovers the neglected actress, Elizabeth Younge, and her importance to Edmund Burke.
776	0	8	_iPrint version: _z9781107043602
856	4	0	_uhttp://dx.doi.org/10.1017/CBO9781107338791
942			_2Dewey Decimal Classification _ceBooks
999			_c37420 _d37420