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Drama in the Romantic period underwent radical changes affecting theatre performance, acting, and audience. Theatres were rebuilt and expanded to accommodate larger audiences, and consequently acting styles and the plays themselves evolved to meet the expectations of the new audiences. This book examines manifestations of change in acting, stage design, setting, and the new forms of drama. Actors exercised a persistent habit of stepping out of their roles, whether scripted or not. Burwick traces the radical shifts in acting style from Garrick to Kemble and Siddons, and to Kean and Macready, adding a new dimension to understanding the shift in cultural sensibility from early to later Romantic literature. Eye-witness accounts by theatre-goers and critics attending plays at the major playhouses of London, the provinces, and on the Continent are provided, allowing readers to identify with the experience of being in the theatre during this tumultuous period.

Drama --- Theatrical science --- English literature --- anno 1700-1799 --- anno 1800-1899 --- Great Britain --- Théâtre et société --- Theater --- English drama --- Acting --- Theater audiences --- Theaters --- Theater and society --- Théâtre --- Théâtre anglais --- Art dramatique --- Théâtre et société --- History --- History and criticism. --- History. --- Stage-setting and scenery --- Political aspects --- Histoire --- Histoire et critique --- Publics --- Décors et mise en scène --- Aspect politique --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Actors --- Society and theater --- Opera-houses --- Playhouses (Theaters) --- Theatres --- Arts facilities --- Auditoriums --- Centers for the performing arts --- Music-halls --- Audiences, Theater --- Theatergoers --- Theater attendance --- Elocution --- Social status --- Social aspects --- Audiences

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Between the advent of the French Revolution and the short-lived success of the Chartist Movement, overworked and underpaid labourers struggled to achieve solidarity and collective bargaining. That history has been told in numerous accounts of the age, but never before has it been told in terms of the theatre of the period. To understand the play lists of a theatre, it is crucial to examine the community which that theatre serves. In the labouring-class communities of London and the provinces, the performances were adapted to suit the local audiences, whether weavers, or miners, or field workers. Examining the conditions and characteristics of representative provincial theatres from the 1790s to 1830s, Frederick Burwick argues that the meaning of a play changes with every change in the performance location. As contributing factors in that change, Burwick attends to local political and cultural circumstances as well as to theatrical activities and developments elsewhere.

Theater --- English drama --- Working class --- Théâtre --- Théâtre (genre littéraire) anglais --- Classe ouvrière --- History --- History and criticism. --- Histoire et critique.

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"Along with providing an encyclopedic examination of early nineteenth-century performances, dramaturgy, and theatrical techniques and apparatuses, Time in Romantic Theatre recovers and celebrates forgotten dramatists, plays, and dramatic subgenres. Future scholarship will benefit from and build on Frederick Burwick's insights and discoveries." William D. Brewer, Professor of English, Appalachian State University "Time in Romantic Theatre adds significantly to our knowledge about nineteenth-century theatre and performance. It reveals how Romantic drama represents time in creative ways by using flashbacks and flashforwards, compression and extension, memory and anticipation, and alternative temporalities. Enjoyable as well as instructive to read, this book is full of fascinating insights into the interactions of playwrights, actors, managers, set designers, reviewers, and audiences in the world of Romantic theatre. There is no one better qualified than Frederick Burwick to bring this world to life for modern readers." Angela Esterhammer, Professor of English, University of Toronto The shift in temporal modalities of Romantic Theatre was the consequence of internal as well as external developments: internally, the playwright was liberated from the old imperative of "Unity of Time" and the expectation that the events of the play must not exceed the hours of a single day; externally, the new social and cultural conformance to the time-keeping schedules of labour and business that had become more urgent with the industrial revolution. In reviewing the theatre of the Romantic era, this monograph draws attention to the ways in which theatre reflected the pervasive impact of increased temporal urgency in social and cultural behaviour. The contribution this book makes to the study of drama in the early nineteenth century is a renewed emphasis on time as a prominent element in Romantic dramaturgy, and a reappraisal of the extensive experimentation on how time functioned. Frederick Burwick, Emeritus Professor at UCLA, is author and editor of thirty-four books and one hundred sixty-five articles. He has worked extensively on Romantic drama and Anglo-German literary relations. He is the general editor of the three-volume Encyclopedia of Romantic Literature (2012) and editor of The Oxford Handbook of Samuel Taylor Coleridge (2009). Recent monographs include A History of Romantic Literature (2019), British Drama of the Industrial Revolution (2015) and Playing to the Crowd, London Popular Theatre, 1780-1830 (2011).

Theatrical science --- Literature --- World history --- History --- theater --- geschiedenis --- literatuur --- sociale geschiedenis --- Time in literature. --- English drama.

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The five essays presented here-Rhetoric, Style, Language, Conversation, and Greek Literature-were published together for the first time in The Collected Writings of Thomas De Quincey in 1889-1890. Frederick Burwick brings the essays together again in this volume, introducing them by tracing the sources and development of a belletristic theory of rhetoric, which he says "is one of the most original, and for a few critics, the most puzzling of the nineteenth century." Burwick makes the edition complete with a comprehensive index and a selected

Rhetoric. --- Language and languages --- Speaking --- Authorship --- Expression --- Literary style --- Rhetoric --- De Quincey, Thomas,

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Aesthetics, Modern. --- Illusion (Philosophy) --- Illusion in literature. --- Representation (Philosophy) --- Information theory in aesthetics. --- Aesthetics --- Cybernetics --- Perception --- Psychology --- Representationalism (Philosophy) --- Representationism (Philosophy) --- Culture --- Philosophy --- Hallucinations and illusions --- Knowledge, Theory of --- Modern aesthetics