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Experimentation on the English stage, 1695-1708 : the career of George Farquhar

Auteur: Elisabeth J Heard
Uitgever: London : Pickering & Chatto, 2008.
Editie/Formaat:   Boek : EngelsAlle edities en materiaalsoorten bekijken.
Database:WorldCat
Samenvatting:
At the beginning of the eighteenth century, British theatre saw a shift from what critics now call 'Restoration' to 'sentimental' comedy. Focusing on the career of the Irish dramatist George Farquhar (1678-1707), Heard argues that experimentation was the basis for this change. Farquhar's first play, "Love and a Bottle" (1698) relied on outdated plot devices and character types. By contrast, his final two plays, "The  Meer lezen...
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Details

Genre/Vorm: Criticism, interpretation, etc
Stories, plots, etc
Genoemd persoon: George Farquhar; George Farquhar; George Farquhar; George Farquhar; George Farquhar
Soort document: Boek
Alle auteurs / medewerkers: Elisabeth J Heard
ISBN: 9781851969715 1851969713
OCLC-nummer: 191754393
Beschrijving: vii, 170 p. ; 24 cm.
Inhoud: 1. The London theatre world in the 1690s --
2. Origins of 'Humane Comedy': Farquhar, Congreve, Cibber and Vanbrugh --
3. Experimentation at the turn of the century --
4. Successful experimentation: The Recruiting Officer and The Beaux Stratagem --
5. Farquhar's contributions and the post-1707 theatre --
Conclusion: Farquhar and Anglo-Irish drama.
Verantwoordelijkheid: Elizabeth J. Heard.
Meer informatie:

Fragment:

At the beginning of the eighteenth century, British theatre saw a shift from what critics now call 'Restoration' to 'sentimental' comedy. Focusing on the career of the Irish dramatist George Farquhar (1678-1707), Heard argues that experimentation was the basis for this change. Farquhar's first play, "Love and a Bottle" (1698) relied on outdated plot devices and character types. By contrast, his final two plays, "The Recruiting Officer" (1706) and "The Beaux Stratagem" (1707) used creative new elements to connect with English audiences. Over ten years, Farquhar and his contemporaries experimented with characters, plot lines, and dialogue in an attempt to woo their audiences. In doing so they initiated a new era in British comedy.

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