MARC Record from marc_columbia

LEADER: 02238cam a2200349Ii 4500
001 11882072
005 20160623135254.0
008 150810s2015 xxka b 001 0 eng d
019 $a907206132
020 $a9780859899970
020 $a0859899977
024 $a60002088596
035 $a(OCoLC)948733892
035 $a(OCoLC)ocn948733892
035 $a(NNC)11882072
040 $aERASA$beng$cERASA$dOCLCO$dBTCTA$dBDX$dOCLCQ$dYDXCP$dWLU
050 4 $aPT2603.R397$bS343 2015
082 04 $a822/.5$223
100 1 $aSchechter, Joel,$d1947-
245 10 $aEighteenth-century Brechtians :$btheatrical satire in the age of Walpole /$cJoel Schechter.
260 $aExeter :$bUniversity of Exeter Press$c2015.
300 $axii, 276 pages :$billustrations ;$c24 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
490 1 $aExeter Performance Studies
520 $aEighteenth-Century Brechtians is a collection of essays by a well-known author on comic and radical political theatre. It looks at stage satires by John Gay, Henry Fielding, George Farquhar, Charlotte Charke, David Garrick and their contemporaries through the lens of Brecht's theory and practice. Discussing the actor mutiny of 1733, theatre censorship, controversial plays and Fielding's forgery of an actor's biography, the book contends that some subversive Augustan and Georgian artists were early Brechtians. Reconstructions of lost episodes in theatre history include a recounting of Fielding's last days as a stage satirist before his Little Haymarket theatre was closed, Charlotte Charke's performances as Macheath and Polly Peachum in The Beggar's Opera and the 1740 staging of Jonathan Swift's Polite Conversation on a double bill with Shakespeare's Merry Wives ... Some documents in this collection offer another perspective on theatre history by employing fiction - speculative reconstructions of Georgian theatre events for which historical facts are scarce or missing.
600 10 $aBrecht, Bertolt,$d1898-1956$xInfluence.
650 0 $aPolitical satire.
650 0 $aTheater$zEngland$xHistory$y18th century.
830 0 $aExeter performance studies.
852 00 $bglx$hPT2603.R397$iS343 2015g