David Worrall is Professor of English at Nottingham Trent University. He is the author of Theatric Revolution: Drama, Censorship and Romantic Period Subcultures, 1773-1832 (2006), The Politics of Romantic Theatricality: The Road to the Stage (2007) and Harlequin Empire: Race, Ethnicity and the Drama of the Popular Enlightenment (2007). He has held fellowships from the Leverhulme Trust, Lewis Walpole Library, Folger Shakespeare Library and Huntington Library, and the Library Company of Pennsylvania.
Inhaltsangabe
Introduction: theatre, performance and social assemblage theory 1. Theatrical assemblages and theatrical markets 2. Georgian performance and the assemblage model 3. Theatrical celebrity as social assemblage: from Garrick to Kean 4. Celebrity networks: Kean and Siddons 5. A working theatrical assemblage: 1790s representations of naval conflict 6. Theatrical assemblage populations: the Turkish ambassador's visits to London playhouses, 1794 7. Historicising the theatrical assemblage: Marie Antoinette and the theatrical queens 8. The regulatory assemblage: The Roman Actor and the politics of self-censorship Conclusion Appendix: actor-network theory.
Introduction: theatre, performance and social assemblage theory 1. Theatrical assemblages and theatrical markets 2. Georgian performance and the assemblage model 3. Theatrical celebrity as social assemblage: from Garrick to Kean 4. Celebrity networks: Kean and Siddons 5. A working theatrical assemblage: 1790s representations of naval conflict 6. Theatrical assemblage populations: the Turkish ambassador's visits to London playhouses, 1794 7. Historicising the theatrical assemblage: Marie Antoinette and the theatrical queens 8. The regulatory assemblage: The Roman Actor and the politics of self-censorship Conclusion Appendix: actor-network theory.
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