LEADER 03623nam 22006372 450 001 9910453660403321 005 20151005020623.0 010 $a1-107-42569-7 010 $a1-139-89365-3 010 $a1-107-42338-4 010 $a1-107-42025-3 010 $a1-107-41763-5 010 $a1-107-42160-8 010 $a1-107-33879-4 010 $a1-107-41893-3 035 $a(CKB)2550000001138796 035 $a(EBL)1394605 035 $a(OCoLC)859537347 035 $a(SSID)ssj0000999462 035 $a(PQKBManifestationID)12336803 035 $a(PQKBTitleCode)TC0000999462 035 $a(PQKBWorkID)10933918 035 $a(PQKB)10881868 035 $a(UkCbUP)CR9781107338791 035 $a(MiAaPQ)EBC1394605 035 $a(Au-PeEL)EBL1394605 035 $a(CaPaEBR)ebr10774107 035 $a(CaONFJC)MIL538466 035 $a(EXLCZ)992550000001138796 100 $a20130220d2013|||| uy| 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aCelebrity, performance, reception $eBritish Georgian theatre as social assemblage /$fDavid Worrall$b[electronic resource] 210 1$aCambridge :$cCambridge University Press,$d2013. 215 $a1 online resource (vii, 305 pages) $cdigital, PDF file(s) 300 $aTitle from publisher's bibliographic system (viewed on 05 Oct 2015). 311 $a1-107-04360-3 311 $a1-306-07215-8 320 $aIncludes bibliographical references and index. 327 $aIntroduction: theatre, performance and social assemblage theory -- Theatrical assemblages and theatrical markets -- Georgian performance and the assemblage model -- Theatrical celebrity as social assemblage: from Garrick to Kean -- Celebrity networks: Kean and Siddons -- A working theatrical assemblage: 1790s -- Representations of naval conflict -- Theatrical assemblage populations: the Turkish ambassador's visits to London playhouses, 1794 -- Historicizing the theatrical assemblage: Marie Antoinette and the theatrical queens -- The regulatory assemblage: the Roman actor and the politics of self-censorship -- Conclusion. 330 $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. 606 $aTheater$zGreat Britain$xHistory$y18th century 606 $aTheater audiences$zGreat Britain$xHistory$y18th century 615 0$aTheater$xHistory 615 0$aTheater audiences$xHistory 676 $a792.0941/033 700 $aWorrall$b David$0608767 801 0$bUkCbUP 801 1$bUkCbUP 906 $aBOOK 912 $a9910453660403321 996 $aCelebrity, performance, reception$92467968 997 $aUNINA