Women on Stage in Stuart Drama
Cambridge University Press, 2005 - 294 من الصفحات
Women on Stage in Stuart Drama provides a 'prehistory' of the actress, filling an important gap in established accounts of how women came to perform in the Restoration theatre. Sophie Tomlinson uncovers and analyzes a revolution in theatrical discourse in response to the cultural innovations of two Stuart queens consort, Anna of Denmark and the French Henrietta Maria. Their appearances on stage in masques and pastoral drama engendered a new poetics of female performance, which registered acting as a powerful means of self-determination for women. The pressure of cultural change is inscribed in a plethora of dramatic texts that explore the imaginative possibilities inspired by female acting. These include plays by the key royalist women writers Margaret Cavendish, Duchess of Newcastle, and Katherine Philips. The material explored by Tomlinson illustrates a fresh vision of theatrical femininity and encompasses an unusually sympathetic interest in questions of female liberty and selfhood.
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action actors actress appearance audience beauty Bellessa calls Cambridge Carol Caroline Cavendish chapter character chastity Circe comedy contrast Corneille court critical culture Cupid dance daughter death describes desire discussion drama Duchess Echo edition Elizabeth Elizabethan England English expression female female performance feminine figure Ford Ford's Frances French Gender given heart Henrietta Maria husband James John Jonson King Lady language Lawes letter literary London Lord Love's Love's Sacrifice madness male Margaret marriage masque masquers means mind Mistress nature nymphs Oxford Paradise pastoral Penthea's performance Philips play pleasure plot Poems political presents Queen reading references Renaissance representation represented Restoration Revels role royal scene sense sexual Shakespeare's Shepherds shift Shirley Shirley's shows singing social song speak speech stage Stuart suggests theatre theatrical Thomas Tragedy University Press virtue voice wife woman women writing
الصفحة 3 - I have heard of your paintings too, well enough ; God hath given you one face, and you make yourselves another...
الصفحة 6 - See here the reason of that which I touched before, — that women have no voice in Parliament. They make no laws, they consent to none, they abrogate none. All of them are understood either married or to be married, and their desires are to their husbands. I know no remedy, that some women can shift it well enough.
الصفحة 13 - Cage, a comedy, which wanteth, I must confess, much of that ornament, which the stage and action lent it, for it comprehending also another play or interlude, personated by ladies, * I must refer to your imagination, the music, the songs, the dancing, and other varieties, which I know would have pleas'd you infinitely in the presentment.