LEADER 04144nam 22006375 450 001 9910674345303321 005 20251008160658.0 010 $a9783031228995$b(electronic bk.) 010 $z9783031228988 024 7 $a10.1007/978-3-031-22899-5 035 $a(MiAaPQ)EBC7204231 035 $a(Au-PeEL)EBL7204231 035 $a(CKB)26161989000041 035 $a(DE-He213)978-3-031-22899-5 035 $a(EXLCZ)9926161989000041 100 $a20230220d2023 u| 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aActors, Audiences, and Emotions in the Eighteenth Century $eCommunities of Sentiment /$fby Glen McGillivray 205 $a1st ed. 2023. 210 1$aCham :$cSpringer International Publishing :$cImprint: Palgrave Macmillan,$d2023. 215 $a1 online resource (231 pages) 225 1 $aPalgrave Studies in the History of Emotions,$x2946-5966 311 08$aPrint version: McGillivray, Glen Actors, Audiences, and Emotions in the Eighteenth Century Cham : Springer International Publishing AG,c2023 9783031228988 320 $aIncludes bibliographical references and index. 327 $a1. Introduction -- 2. Playing to Type -- 3. Communicating Emotions: The Arts of the Actor -- 4. Regulating and Mobilizing Emotions: The Audience -- 5. Mediating Emotions: Practicing Emotions in Place -- 6. Conclusion. 330 $a?The behavior of people in theaters of the eighteenth century still presents us with a puzzle: why the effusive emotion? In this brilliant study, drawing on a wealth of source material, the emotional style which peaked in Sentimentalism is explained through a deep historical ethnography of the emotional practices of the age. Glen McGillivray attends to both actors? and audiences? performances of feeling, as well as the space in which they were executed, to provide a full picture of what was going on in early modern English theaters.? -Monique Scheer, University of Tübingen, Germany This book offers an innovative account of how audiences and actors emotionally interacted in the English theatre during the middle decades of the eighteenth century, a period bookended by two of its stars: David Garrick and Sarah Siddons. Drawing upon recent scholarship on the history of emotions, it uses practice theory to challenge the view that emotional interactions between actors and audiences were governed by empathy. It carefully works through how actors communicated emotions through their voices, faces and gestures, how audiences appraised these performances, and mobilised and regulated their own emotional responses. Crucially, this book reveals how theatre spaces mediated the emotional practices of audiences and actors alike. It examines how their public and frequently political interactions were enabled by these spaces. Glen McGillivray is Associate Professor in Theatre and Performance Studies at the University of Sydney, Australia. He was an associate investigator with the Australian Research Council Centre of Excellence for the History of Emotions, and his research focuses on the intersection between emotions and performance. 410 0$aPalgrave Studies in the History of Emotions,$x2946-5966 606 $aGreat Britain$xHistory 606 $aCivilization$xHistory 606 $aSocial history 606 $aTheater$xHistory 606 $aHistory of Britain and Ireland 606 $aCultural History 606 $aSocial History 606 $aTheatre History 615 0$aGreat Britain$xHistory. 615 0$aCivilization$xHistory. 615 0$aSocial history. 615 0$aTheater$xHistory. 615 14$aHistory of Britain and Ireland. 615 24$aCultural History. 615 24$aSocial History. 615 24$aTheatre History. 676 $a792.01 676 $a792.094109033 700 $aMcGillivray$b Glen$01338137 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 912 $a9910674345303321 996 $aActors, Audiences, and Emotions in the Eighteenth Century$93057943 997 $aUNINA