The Theatre of Shelley
|Index
Texto completo
Achille et Deidamir (ballet) 44
Acis & Galatea 249
actors 42, 43, 46, 86
characterisation 42
importance of writing for 87
influence of sculpture 40
relationship to audience 25, 26, 27, 38, 40
use of gesture 41, 46, 157, 161
Addison, Joseph See Cato
Aeschylus 17, 72, 73, 77, 79, 150, 175, 178, 179, 180, 181, 186, 188, 197. See also Oresteia; Persians, The; Prometheus Bound in The Frogs 179
Alasco (Shee, Martin) 145
Alchemist, The (Jonson, Ben) 80
Alfieri, Vittorio 67, 70, 74, 75, 186, 253. See
also Rosmunda
Ambrogetti 65
Anarcharsis (Barthélemy) 212
animals, performing dogs 34
horses 7, 29, 32, 68, 128
Anno, L’ 1835 251
Antigone (Sophocles) 73, 90, 93, 143
Antony & Cleopatra (Shakespeare, William) 6
Apostate, The (Sheil, Richard Lalor) 91
Archarnians, The (Aristophanes) 214
Aristophanes 18, 77, 79, 179, 215, 219, 220, 226, 234. See also Archanians, The; Birds,
The; Clouds, The; Frogs, The; Lysistrata; Plutus; Poet and the Women, The
Aristotle 74
Arlecchino 69, 220, 222
Arlecchino flagellò dei cavallieri serventi (comedy) 69, 251
Arne, Thomas 74
As You Like It (Shakespeare, William) 6
audience 12
behaviour 38, 41, 68, 188
composition 33, 37, 50, 68
size 26, 27, 31, 87
Aureliano in Palmira (Rossini, Gioachino) 71, 252
Backscheider, Paula 11
Baer, Marc 11, 36
Baillie, Joanna 3, 5, 29, 38, 87, 108, 112. See
also De Monfort
Baines, Paul 10
ballet 50, 66, 150, 154
coreodramma 149, 174
music for 157
Barbarossa (Brown, John) 61, 256
Barber of Seville, The (Rossini, Gioachino) 250
Baretti, Joseph 223
Baring, Maurice 93
Baron Munchausen (pantomime) 223
Barrymore, Richard, Earl of 4, 35, 55
Barthélemy. See Anarcharsis
Bartley, George 145
Bates, E.S. 93
Beatrice Cenci (Pieracci, Vincenzio) 87
Beaumont, Francis, and John Fletcher 80, 119, 138, 171. See also Bonduca; Faithful Shepherdess, The; King and No King, A; Maid’s Tragedy, The; Philaster; Wife for a Month, A; Wit Without Money Beaux’ Stratagem, The (Farquhar, George) 36
Beethoven, Ludwig van, Geschöpfe des Prometheus, Die 157
Beggar’s Opera, The (Gay, John) 62, 248
Behrendt, Stephen 37, 115
Benbow, William 174
Bernadete, S.G. 186, 188, 189
Bernard, John 5, 11, 22, 42
Bertram (Maturin, Charles) 3, 61, 67, 82, 88
Bickerstaffe, Isaac, 246, 248
Birds, The (Aristophanes) 219
Bishop, Sir Henry 108, 169
Black Ey’d Susan (Jerrold, Douglas) 38, 241
Bland Burgess, Sir James 57, 246. See also Riches
Bluebeard (Colman, George, the Younger) 24, 29, 127, 218, 232
Boaden, James 11, 23, 40, 57, 58, 91, 100, 110
Sicilian Romance, A 108
Bold Stroke for a Husband, A (Cowley, Hannah) 6
Bologna, Jack, 245
Bombastes Furioso (Rhodes, W.B.) 225, 226, 248
Bonaparte, Napoleon 68, 119, 120
Bonduca (Beaumont, Francis, and John Fletcher) 121
Booth, Michael 1, 7, 12
Borderers, The (Wordsworth, William) 2
Borelli, Alda 92
Braham, John 59, 257
Bratton, Jacky 12, 18
Bride of Abydos, The (Dimond, William) 18, 178, 197, 249
adapted from poems by Byron 193
description 194
songs 194, 195
use of lighting 195
Brook, Peter 174
Brown, John. See Barbarossa
burlesque 18, 66, 209, 213, 214, 227
burletta 12, 33, 34, 96, 145, 200
Burroughs, Catherine 3, 4
Bush-Bailey, Gilli 12, 170
Byron, Lord George Gordon Noel 2, 3, 5, 9, 19, 36, 38, 59, 69, 75, 80, 82, 87, 116, 143, 189, 193, 202, 203, 210, 223. See also Corsair, The; Manfred; Marino Faliero; Werner
attitude to Greek theatre 3, 74
on his playwriting 80
on Schlegel 75
on Sgricci 189
on The Cenci 81
on the improvvisatori 189
Cabinet, The (Dibdin, Thomas) 44, 109, 169, 245
songs 205
Calderón, Pedro de la Barca 77, 79, 97, 119, 173. See also Magico Prodigioso, El; Physician of his Honour, The; Schism in England, The Cameron, Kenneth Neill 14, 16, 18, 53, 92, 103, 118, 122, 132, 145, 215, 233
Camporesi, Violante 47, 65, 154
Canova 154, 155
cantadori 190. See improvvisatori; Sgricci
Capon, William 28, 29, 108, 127
Caractacus (Mason, William) 74
Caravan, The (Reynolds, Frederick) 34
Careless Husband, A (Cibber, Colley) 6
Carey, Henry 225. See also Chrononhotonthologos; Dragon of Wantley, The
Carlile, Richard 209, 211
Carlson, Julie 67
Carroll, Lewis (Charles Lutwidge Dodgson) 229
Castlereagh, Lord 215, 216, 218, 230, 233
Castle of Glendower, The (Samuel William Ryley) 250
Castle Spectre, The (Lewis, Matthew Gregory ’Monk’) 25, 30, 67, 108, 110, 120
Catalani, Angelica 47, 59, 65, 71, 247, 252, 257
Catiline’s Conspiracy (Jonson, Ben) 121
Cato (Addison, Joseph) 75
Cave, Richard 15, 37, 85, 94
Cenerentola, La (Rossini, Gioachino) 253
Cenci, Beatrice 84
alleged portrait 90
Cenci, The (Shelley, Percy Bysshe) 2, 7, 8, 9, 21, 23, 37, 51, 78, 79, 81, 85, 87, 88, 92, 98, 103, 108, 109, 112, 113, 115, 118, 119, 133, 137, 144, 145, 146, 147, 148, 177, 210, 228
audience sympathy 103
BBC radio production 93
Beatrice and dramatic parallels 103
Beatrice’s guilt 91, 103
censorship 6, 92, 97
Charles Kemble as Orsino 107
comparison with Fazio 98
criticism 87
demands of Cenci 106
dramatic technique 238
Eliza O’Neill as Beatrice 101
importance of spectacle 87, 107
incest and censorship 112
influences 67
Kean as Cenci 104
Macready as Cenci 104
morality compared with Fazio 98
offered to Covent Garden 92
origins 84
performability 15, 85, 93, 113
performance history 94
political perspective 90
popular interest in the story 87
rejected by Covent Garden 85
relationship to Fazio 15
relationship to Gothic drama 109
relationship to Rossini’s Otello 69
relationship to Shakespeare 85
relationship to the Bible 85
relationship to The Cabinet 109
reviews (1820) 92
scenery 108
songs 108
sources 88, 98, 101
suitability for modern stage 94
use of natural language 112
use of popular elements 98
use of special effects 108
use of tableaux 109
written for Eliza O’Neill 99
censorship 32, 33, 50, 149, 200, 210
and publication of plays 4
Examiners of Plays 6, 11, 32, 145
failed prosecutions 209
in ancient Greece 214
in Italy 67, 69, 70
Licensing Act 32, 34
licensing by a magistrate 33, 110
plays on the fall of the Bastille 33
Český Krumlov theatre 24
Charles I 117, 123, 135
Charles II 32, 74
Charles the First (Havard, William) 144
Charles the First (Mitford, Mary Russell) 16, 145
Charles the First (Shelley, Percy Bysshe) 8, 32, 51, 81, 83, 113, 118, 119, 121, 124, 125, 132, 144, 168, 206
battle scenes 142
censorship 145
characterisation 129, 134
comparison with Mitford’s play 123
Covent Garden’s interest 145
crowd 125, 132
dramatic technique 240
dramatic use of the fool 136
influences 130
intentions 118, 140
Kemble as Charles I 144
Leighton’s entrance 132
Macready as Cromwell 144
masque and anti-masque 125
origins 119
performability 16
political perspective 121, 123, 127, 130, 134, 136, 138, 140
portrayal of Charles I 122, 133
procession 129, 131
relationship to Beaumont and
Fletcher 138
relationship to Calderón 132
relationship to Shakespeare 133
research 121
scenery 138, 140
Shelley discouraged 144
songs 134
sources 132, 142, 143
staging 137
structure 143
tries to sell the copyright 143
use of special effects 127
whether it would have been
completed 118, 146
women 133, 138, 141, 143
Cherry, Andrew 257. See also Spanish Dollars, or the Priest of the Parish; Travellers, The
chorus 74, 125, 158, 169, 177, 179, 181, 187, 192, 197, 227, 231, 232
Chrononhotonthologos (Carey, Henry) 225
Cibber, Colley 6, 43, 104. See also Careless Husband, A
Cimarosa, Domenico. See matrimonio segreto, Il
City Madam, The (Massinger, Philip) 57, 246
Clairmont, Claire 14, 49, 54, 59, 61, 71, 116, 138, 158, 190, 192, 243
claptrap 105
Clarendon, Earl of 116
History of Rebellion and Civil War in Ireland, The 121
History of the Rebellion and Civil Wars in England, The 119, 120
closet drama 7, 53, 191
Clouds, The (Aristophanes) 212, 214
Clown 43, 44, 222
Cobbett, William 211, 213
Cobb, James 256
Coburg Theatre (later the Victoria and then the Old Vic) 33
Coleridge, Samuel Taylor 2, 4, 13, 31, 38, 67, 135, 233. See also Remorse
Colman, George, the Elder 35, 248. See also Jealous Wife, The
Colman, George, the Younger 24, 30, 31, 145. See also Bluebeard; Inkle and Yarico Columbus (Morton) 30
commedia dell’arte 18, 43, 68, 69, 168, 209, 214, 219, 220, 222, 223, 226, 233, 243
animal characters 220
Cooke, G.F. 43, 46, 58, 66
as Richard III 104, 245, 246
as Shylock 47
Cooke, T.P. 193, 199
coreodramma. See ballet
Coriolanus (Shakespeare, William) 99
Cornwall, Barry (Bryan Waller Procter) 210
Corsair, The (Byron, Lord George Gordon Noel) 193
costume 25, 29, 41, 128
historical accuracy 29, 45
Country Girl, The (adaptation of The Country Wife) (Garrick, David) 23, 25, 245
Dorothy Jordan in 26
Country Wife, The (Wycherley, William) 23
Covent Garden Theatre 4, 6, 15, 16, 31, 32, 33, 41, 56, 58, 59, 67, 74, 82, 87, 91, 94, 95, 96, 98, 102, 118, 129, 133, 144, 145, 200, 225
1808 burnt down 26, 36
1809 re-opened 26, 36, 45, 57, 59
commissioned a play on Charles I 144
English operas 134
Covent Garden Theatre (cont.)
Fazio 95, 97, 98
forestage 26
music 108
Old Price riots 11, 37
performing at the King’s Theatre,
Haymarket 43
procession 127
resources 29, 45, 127, 128, 129
use of horses 127
Cowley, Hannah 6. See also Bold Stroke for a Husband, A
Cox, Jeffrey N. 1, 3, 4, 9, 10, 12, 14, 15, 53
Cox, Philip 2
Crabb Robinson, Henry 57, 123, 127, 167, 225, 226
on Eliza O’Neill 99
on Kean’s Hamlet 60
Craven, Lady Elizabeth 3
Crisafulli, Lilla Maria 16
critics 5, 39, 42. See also Hazlitt, William;
Hunt, James Henry Leigh
Croaking 247
Cromwell, Oliver 122, 123
Crook, Nora 8, 16, 118, 122, 127, 134, 136, 143, 202, 204, 205, 206
Cruikshank, Isaac Robert 39
drawing of A School for Scandal 65
drawing of Henry IV Pt 1 58
drawing of Macbeth 29
drawing of Richard III 27
Crutchley, Rosalie 93
Cumberland, John 39
Cumberland, Richard 26, 203
Curran, Stuart 8, 14, 16, 53, 84, 85, 93, 94, 103, 108, 111, 112, 136, 149, 152, 156, 157, 204
Cyclops, The (Euripides) 211
Cymbeline (Shakespeare, William) 230
Daneman, Paul 200
Daniel, George 60, 104
Darlington, Madge 147
Dauberval, Jean 48
Davenant, William 74
Davenport, Mrs. (Mary Ann) 41
Davidge, G.B. 33
Davies, Robertson 7, 15, 36, 85, 110
Davis, Tracey C. 10
Davy, John 257
De Monfort (Baillie, Joanna) 4, 5, 6, 29, 38, 87, 88, 108, 241
Dedalo (Viganò, Salvatore) 154, 155, 156
Derby, Lord 35
Dibdin, Charles, the Elder. See Padlock, The
Dibdin, Charles, the Younger 34
Dibdin, Thomas 11, 15, 33, 34, 43, 44, 95. See also Cabinet, The; Harlequin and Humpo; Heart of Midlothian; Italian Wife, The; Mother Goose
Dimond, William 18, 193, 194, 195, 249. See also Bride of Abydos, The
Abon Hassan 193
Aethiop, or the Child of the Desart 193
Dionigi, Signora 156
Dodsley, Robert, Ancient English Drama 80, 121
Dolby’s British Theatre 39
Don Carlos (Schiller, Friedrich) 241
Don Giovanni (Mozart, Wolfgang Amadeus) 47, 49, 61, 65, 67, 156, 162, 163, 248, 249
Don Juan (Bickerstaffe and Isaac Pocock) 66
Donkin, Ellen 10
Donohue, Joseph W. 1, 2, 7, 12, 14, 27, 32, 34, 40, 46, 54, 60, 85, 97, 98, 103, 107
Douglas (Home, John) 57, 59, 67, 99, 246, 257
Downer, Alan S. 43
Dowton, William 59, 226
Dragon of Wantley, The (Carey, Henry) 19, 225
Dramatist, The (Reynolds, Frederick) 6
Drury Lane Theatre 2, 9, 26, 28, 29, 30, 32, 33, 41, 43, 45, 56, 59, 80, 82, 91, 95, 193, 200, 256
1809 burnt down 26, 43
1812 re-opened 26
bronze lamps 26, 60, 76
fire precautions 33
performing at the Lyceum 43, 57
Dryden, John 74, 186, 225
Duse, Eleanora 92
Eaton, Charlotte 88, 91, 164, 189, 190, 192
echo songs. See songs
Edinburgh Monthly Review, The 92
Egyptian Festival, The (pantomime) 62
Eikon Basilike (anonymous) 117, 122
Ellenborough, Lord 226
Ellin, Mr. (managed Horsham Theatre) 54
Elliston, Robert 57, 127, 246
Epicoene (Jonson, Ben) 212
Erdman, David 3
Erkelenz, Michael 212, 213, 217, 227
Ervine, St John 8, 85, 103
Etelinda (Winter, Peter von) 154, 250
Etherege, George 44
Eton College 29, 56
Eton friends of Shelley
Andrew Amos 56
James Tisdall 54
Walter S. Halliday 56
Euripides 72, 73, 79, 179, 211, 214. See also Cyclops, The; Medea
Everard, E. 54
Every Man in his Humour (Jonson, Ben) 212
Examiner, The 62, 215
Fabbrici, Natale 69
Fair Penitent, The (Rowe, Nicholas) 107
Faithful Shepherdess, The (Beaumont, Francis, and John Fletcher) 80
Farinelli, Guiseppe. See Teresa e Claudio
Farquhar, George. See Beaux’ Stratagem, The Farren, Elizabeth 35
Fatal Marriage, The (Southern, Thomas) 99
Faust (Goethe, Johann Wilhelm von) 178
Fawcett, John 5, 41, 91
Fazio (Milman, Henry Hart) 4, 15, 39, 61, 62, 66, 67, 76, 82, 87, 88, 95, 98, 106, 107, 156, 249, 250, 252. See also Italian Wife, The (Dibdin, Thomas) inferior to The Cenci 97
Jacobean influence 96
plot 95
problems for performance 96
rejected by Drury Lane 95
festa della rosa, La (Taglioni, Salvatore) 251
Fielding, Henry 44, 225, 226. See also Tom
Thumb; Virgin Unmask’d, The
Finberg, Melinda 10
Fiorillo, Federigo 245
Fiske, Roger 29
Fitzball, Edward 1
Flaxman, John 45
Flight of the Zephyr, The 248
Florence 70, 87, 252
Fo, Dario 168, 224
Fodor 65
Fortiguerra, Niccolò 210
Ricciardetto 210
Fort, Paul 147
Fox, Charles James 35, 36
Fragments of an Unfinished Drama (Shelley, Percy Bysshe) 116, 144, 207
allocation of parts 204
comparison of texts 206
comparison with Sacontala 205
dramatic potential 206
dramatic technique 240
origins 202
relationship to Indian culture 205
songs 205
whether for reading or performance 202, 203
Fraistat, Neil 84, 148
Freischütz, Der (Weber, Carl Maria Friedrich Ernst von) 62
Frogs, The (Aristophanes) 179, 212, 213, 214, 227
Gamer, Michael 12
Ganzel, Dewey 31
Gardel, Pierre 48, 50, 247. See also Psiché
Garrick, David 23, 25, 26, 46, 48, 104. See also Country Girl, The
Gatti, Carlo 156
Gaull, Marilyn 1, 7, 38, 39, 85, 110
Gay, John 62, 248. See also Beggar’s Opera, The
Gazzetta di Firenze, La 70
Gazzetta Privilegiata di Venezia, La 69
Genest, John 23
George IV, formerly Prince Regent 127, 209, 210, 211, 227
Georgian theatre 12, 51, 76
management 12
modern revivals 241
political perspective 10, 31, 34
popularity 22
prejudice against 11, 50, 51
relationship to Greek theatre 18, 74, 148, 149, 178, 200, 213
relationship to Turkish culture 193
women playwrights 10, 11
Georgian Theatre, Richmond, North Yorkshire 12, 23
Gielgud, Sir John 93
Ginevra di Scozia (Mayr, Johann Simon?) 255
Giovanna d’Arco (Viganò, Salvatore) 154
Gioventu di Enrico, Il (Pacini, Giovanni) 254
Gisbornes 77, 103, 149
John Gisborne 88, 116, 143, 148
Maria Gisborne 77
Giselle (ballet) 48
Godwin, William 13, 60, 71, 73, 118, 122
Political Justice 121
Goethe, Johann Wilhelm von 19, 80. See also Faust
Goldoni, Carlo 68, 69
Gozzi, Carlo 69
Graham, Edward (friend of Shelley) 56
Grecian Daughter, The (Murphy, Arthur) 41, 57, 58, 67, 110, 111, 245
Greece 121, 173, 179, 183
War of Independence 73
Greek theatre 74, 152, 179, 209
Greenwood (scene painter) 165, 194
Grene, David 151
Grieves 165
scenery design 62, 165, 194, 195, 199
T. Grieve 127
Grimaldi, Joey 33, 44, 66, 167, 222, 243, 245, 249
Griselda (Paër, Ferdinando) 49, 65, 249
Groves 43, 45, 54, 56, 57, 59, 203
Harriet Grove 14, 54, 56, 59, 66, 243
private theatricals 36
Guilford, Lord 36
Gurr, Andrew 120
Hall, Edith 73
Hamlet (Shakespeare, William) 45, 60, 66, 133, 230, 247
Harlequin 24, 27, 43, 44, 105, 222, 243
Harlequin and Humpo (Dibdin, Thomas) 28
Harlequin Gulliver (O’Keeffe, John) 44, 167, 249
Harris, Henry 118
Harris, Thomas 91
Havard, William 144. See also Charles the First
Haymarket Theatre 31, 33
Hazlitt, William 25, 35, 38, 47, 65, 71
on Eliza O’Neill 99, 100
on Kean 104, 105
on Kean as Hamlet 60
on Kemble as Don Giovanni 66
He’s Much to Blame (Holcroft, Thomas) 241
Heart of Midlothian, The (adaptation by
Dibdin, Thomas) 34
Hellas (Shelley, Percy Bysshe) 8, 9, 16, 18, 46, 51, 102, 142, 144, 175, 183, 201, 206
BBC radio performance 201
censorship 200
characterisation 198, 199
comparison with The Persians 189
dramatic technique 239
neo-classical drama 186
origins 179
performability 18, 178, 200
philosophy and religion 187
political perspective 178, 179, 183, 199
relationship to Greek theatre 77
relationship to Macbeth 182, 188
relationship to Prometheus Bound 184
relationship to Quattro Etade La morte d’Ettore 192
relationship to Sgricci 193
relationship to The Bride of Abydos 197
relationship to The Persians 17, 177, 178, 179, 180, 198
sexual politics 184
songs 183, 184
structure 182
T.P. Cooke as Hassan 199
use of a chorus 179, 182, 187
use of lighting 195
whether a play or a poem 177, 202
Henry IV (Shakespeare, William) 58, 67, 121, 246
Henry V (Shakespeare, William) 93, 121
Henry VI (Shakespeare, William) 93, 121, 142
Henry VIII (Shakespeare, William) 93, 102, 130, 131, 133
Herculaneum 60, 75, 76, 155, 173
Herodotus 60
Hoare, Prince 58, 246
Hogg, Thomas Jefferson 14, 56, 61, 62, 73, 155, 210
Holcroft, Thomas 4, 8, 9, 13, 22, 31, 42,91. See also He’s Much to Blame; Love’s Frailties; Road to Ruin; Tale of Mystery, A
Home, John. See Douglas
Hone, William 209
Honeymoon, The (Tobin, John) 39, 57, 246
Honest Thieves (Knight Thomas) 247
Horsham Theatre 54
Hotham, Sir John 142
House of Aspen, The (Scott, Sir Walter) 3
Huguenots 129
Hume, David, History of England 116, 119, 120, 122, 132, 137, 139
Hunt, James Henry Leigh 15, 36, 59, 61, 62, 66, 71, 81, 98, 101, 113, 116, 124
Critical Essays on the Performers of the London Theatre 62
Descent of Liberty, The 6, 148
on Dorothy Jordan 25
on gas lighting 45
on ’natural acting’ 42
on Robert Elliston 57
on Sarah Siddons 41, 58
on scenery 62
on The Cenci 103, 109
on using horses in the theatre 127
Shelley’s friendship 62
understanding of the theatre 7, 9, 38
Hutchinson, John 142
Hutchinson, Lucy 117, 122, 142
improvvisatori 67, 71, 190, 220. See also Sgricci, Tommaso
Improwizacja (Mickiewicz, Adam) 193
Inchbald, Elizabeth 6, 7, 8, 9, 11, 31, 38, 109.
See also Lovers’ Vows; Wives as They Were,
Maids as They Are
The British Theatre 6
Incledon, Charles 257
Inez de Castro (Sgricci, Tommaso) 191, 256
Inkle and Yarico (Colman, George, the Younger) 10, 31
Iphigenia in Tauris (Sgricci, Tommaso) 253
Ireland, 1798 Rising 120
Irving, Henry 93
Italian Wife, The (adaptation of Fazio) (Dibdin, Thomas) 15, 95, 96, 97, 98
Italy 9, 14, 17, 53, 61, 65, 67, 68, 71, 80, 82, 84, 149, 155, 164, 189, 192, 215, 219, 220, 224, 243
Austrian occupation 68, 149
independence 97, 149
Jacobean drama 23, 80, 121, 131, 146, 150
Jacobinism 119
Jealous Wife, The (Colman, George, the Elder) 99, 248
Jerrold, Douglas 38. See also Black Ey’d
Susan; Rent Day, The
Jewett, William 110, 115
Johnson, Samuel 223
Johnston, Henry 41, 193
Jones, Charles Inigo, on Eliza O’Neill 99
Jones, Sir William 162, 204. See also Sacontala
Jones, Steven E. 11, 214
Jonson, Ben 4, 80, 119, 121, 131, 171. See also Alchemist, The; Catiline’s Conspiracy;
Epicoene; Every Man in his Humour;
Magnetick Lady, The; Sejanus, His Fall; Volpone
Jordan, Dorothy 6, 22, 25, 41, 44, 66, 245
greatest roles 26
Julius Caesar (Shakespeare, William) 41, 123
Kalidasa 162, 204. See also Sakuntala
Keach, William 149
Kean, Edmund 24, 43, 45, 47, 66, 103, 104, 105, 192, 226, 247, 248
as Cenci 98
as Hamlet 60, 156
as Richard III 104
as Selim 193
as Shylock 46, 47, 62, 104
Keats, John 2, 31. See also Otho the Great
Kelly, Michael 11, 24, 30, 36, 194, 232
Kemble, Charles 41, 45, 58, 66, 107, 128, 144, 245, 246
as Don Giovanni 66
as Fazio 106
Kemble, John Philip 4, 36, 40, 41, 43, 45, 46, 58, 66, 87, 91
in De Montfort 6
Kemble, Priscilla 35
Kemble, Roger 22
Kenney, James, Love Law and Physic 226
Kimbell, David 69, 108, 219
King and No King, A (Beaumont, Francis, and John Fletcher) 120, 130, 132
King John (Shakespeare, William) 99, 121
King’s Theatre, Haymarket 43, 47, 66, 134
Kitto, H.D.F. 151, 181, 186, 189
Knowles, James Sheridan, Virginius 145
Korsch Theatre, Moscow 112
Kotzebue, Auguste. See also Stranger, The
La Scala, Milan 47, 66, 68, 148, 149, 165, 171, 174
ballet 68
resources 155, 156
La Sylphide (Taglioni, Filippo) 48
Lamb, Charles 37, 38
Larpent, John 11, 31, 96, 144, 145
Leach, Sir John 229
Leacroft, Richard 11
Lemoncelli, Ronald 101
Lerici 116, 202
Levellers 123
Leveridge, Richard 29
Lewes, Charles Lee 34
Lewis, Matthew Gregory ’Monk’ 13, 30, 67. See also Castle Spectre, The; Timour the Tartar
Libertine, The (adaptation) (Pocock, Isaac) 66, 163, 250, 252
liberty 119, 123, 142, 149, 182, 183, 184, 195, 198
lighting 25
Argand lamp 28
auditorium 25, 68, 132
candles 24
concealed lights 25
footlights 24
gas 46, 165, 195
lightning 27, 151, 166, 203
limitations 108
sunrise 195
sunset 195, 197
Liston, John 226
Little Theatre in the Haymarket 32
Liverpool, Lord 216
Locke, Matthew, songs for Macbeth 29
Loutherbourg, Philippe Jacques de 36
Love in a Tub (ballet) 44, 245
Love’s Frailties (Holcroft, Thomas) 4
Lovers’ Vows (Inchbald, Elizabeth) 109
Loves of Mars and Venus (Weaver, John) 48
Lucan 119
Lucca 256
Ludlow, Edmund, Memoirs 117, 143
Lusinghiera, La (The Flattering Woman) (Nota, Alberto) 71, 252
Lyceum (the English Opera House) 43, 44, 45, 57
Lynch, Kathleen M. 103
lyrical drama. See also Hellas; Prometheus Unbound
relation to coreodramma 174
Schlegel’s view 78
Shelley on Hellas 177
Shelley thought his performable 16, 17
Lysistrata (Aristophanes) 212, 214
Macaulay, Catharine 122
History of England 116, 121, 123, 139, 140
Macbeth (Shakespeare, William) 29, 40, 57, 59, 101, 133, 182, 188, 230
Locke’s songs 29
Macintosh, Fiona 73, 211
Macready, William 81, 104, 144
as Cenci 106
in Werner 104
on Eliza O’Neill 99
Maddocks, William 54
Magic Flute, The (Mozart, Wolfgang Amadeus) 162
Magico Prodigioso, El (Calderón, Pedro de la Barca) 77
Magnetick Lady, The (Jonson, Ben) 212
magnetism 199, 204
Maid’s Tragedy, The (Beaumont, Francis, and John Fletcher) 120, 121
Manfred (Byron, Lord George Gordon Noel) 3
Manuel (Maturin, Charles) 61, 66, 67
Maria Stuarda (Mercadante, Saverio) 71, 254
Maria Stuart (Schiller, Friedrich) 241
Marino Faliero (Byron, Lord George Gordon Noel) 2, 3, 38, 75, 81, 145
Marlow 61, 80
Marly, Diana de 12
Mariage Secret, Le (d’Egville, James Harvey) 245
Marriage of Figaro, The (Mozart, Wolfgang Amadeus) 61, 162, 256
Marston, John 80
masks 219, 222
Mason, Charles Kemble 104
Mason, William. See Caractacus
masque 125, 129, 133, 150, 171
and closet drama 7
anti-masque 125, 130, 132, 172
Massinger, Philip 57, 119, 246. See also City
Madam, The
Mathews, Charles 18, 56, 226
matrimonio segreto, Il (Cimarosa, Domenico) 47, 253
Matthews, Geoffrey 83, 163, 203
Maturin, Charles 3, 61, 67, 248. See also Bertram; Manuel
Maugham, Somerset 38
Mavrocordato, Alexander 178, 179
Mayer, David 18, 50
Mayhew, Henry, London Labour and the London Poor 37
Mayr, Johann Simon 71, 252, 253. See also
Misteri Eleusini, I; rosa bianca, e la rosa
rossa, La
Mazzeo, Tilar J. 204
McCalman, Iain 11, 35
Medea (Euripides) 93
Medwin, T.C. (Shelley’s uncle) 54
Medwin, Thomas (Shelley’s cousin) 13, 14, 22, 53, 77, 82, 115, 116, 122, 147, 199 on Charles the First 117, 119, 135
Mélanie, Mlle. 50, 66, 153, 248, 249
melodrama 7, 12, 24, 31, 33, 110, 150, 153, 193, 194
Mercadante, Saverio. See Maria Stuarda
Merchant of Venice, The (Shakespeare, William) 46, 62, 248
Merimée, Prosper 87
Mickiewicz, Adam. See Improwizacja
Milan 66, 68, 70, 149, 153, 154, 155, 157, 220, 229
Milan Commission 229
Milman, Henry Hart 4, 15, 67, 76, 87, 95, 96, 97, 98, 112, 249, 250. See also Fazio
Milton, John 116, 143, 226 Comus 171
mime 32, 43, 48, 49, 96, 153, 164, 222
Mirra (Viganò, Salvatore) 70, 156
Misteri Eleusini, I (Mayr, Johann Simon) 71, 253
Mitford, Mary Russell 22, 32, 123, 124, 144. See also Charles the First
Mogul’s Tale, A (Inchbald, Elizabeth) 193
Mohawks 36
Molinara, La (Paisiello, Giovanni) 61, 65, 249
Moncrieff, William Thomas. See Tom and Jerry
Moody, Jane 12, 85
Moore, Thomas 189
Morgan, Lady (Sydney Owensen) 153, 154, 155, 156
Morning Chronicle 65
Morris, D.E. 33
Morton, Thomas 30, 31, 91, 109. See also Columbus; Speed the Plough
Mother Goose (Dibdin, Thomas) 43, 245
Mountcashell, Lady (’Mrs. Mason’) 120
Mount Edgcumbe, Lord 249
Mozart, Wolfgang Amadeus 66, 157, 193, 248, 249, 256. See also Don Giovanni;
Magic Flute, The; Marriage of Figaro, The
Munden, Joseph Shepherd 246, 257
Murphy, Arthur 110, 111, 245. See also The Grecian Daughter
All in the Wrong 241
Murray, Alma 93
music 29, 50, 76, 162
in Rome 70
Mysterious Mother, The (Walpole, Horace) 110
Naples 70, 124, 173, 223, 224
Nautch dancers 204
neo-classical drama 74, 186
unities 74, 186
Neth, Michael 178, 179
Nicoll, Allardyce 1, 15, 31, 85, 91
Norfolk, Duke of 54
No Song No Supper 58, 246
Nota, Alberto. See Lusinghiera, La
Noverre, Jean-Georges 48
Fêtes Chinoises 48
Lettres sur la Danse et les Ballets 48
O’Keeffe, John 6, 91, 249. See also Harlequin
Gulliver; Wild Oats
O’Neill, Elizabeth (Eliza) 40, 45, 61, 66, 91, 103, 248, 249, 250
appearance 99
as Beatrice in The Cenci 98
as Juliet 87, 100
effect on audience size 87
greatest roles 99
not shown The Cenci 97
Oedipus at Colonus (Sophocles) 179
Oedipus Tyrannus (Sophocles) 35, 200, 227
Ollier, Charles (Shelley’s publisher) 117, 118, 124, 143, 178
opera 47, 65, 68, 134, 150, 152
Opera House, Naples 70
Opera Restor’d 19
Oresteia (Aeschylus) 73
Orphan, The (Otway, Thomas) 99
Oscar and Malvina (Reeve, William) 246
Otello (Rossini Gioachino) 68, 108, 251
Otello (Viganò, Salvatore) 71, 153, 154, 155, 156, 193, 250, 252
Othello (Shakespeare, William) 35, 69, 80, 108, 155, 202, 206
Otho the Great (Keats, John) 2
Otway, Thomas. See Orphan, The; Venice Preserv’d
Pacini, Giovanni. See Il gioventu di Enrico
Padlock, The (Dibdin, Charles, the Elder) 44
Paër, Ferdinando. See Griselda
Paisiello, Giovanni. See Molinara, La
Pallerini, Antonietta 153, 158, 161
Panel, The (Bickerstaffe/Kemble) 248
pantomime 7, 18, 24, 44, 150, 153, 167, 209, 214, 219, 223. See also Grimaldi, Joey
parody in 44
parabasis 214, 233
Pascoe, Judith 53
Patrick’s Return (ballet) 248
Paul and Virginia (Cobb, James) 246, 256
Peacock, Thomas Love 14, 54, 61, 78, 83, 148, 153, 155
on Baron Munchausen 223
on Charles the First 118
on Shelley and A School for Scandal 62
on Shelley and Don Giovanni 61
on Shelley and Eliza O’Neill 61
on Shelley and Mlle. Mélanie 50
on Shelley reading aloud 80
on Shelley’s dramatic talent 92
on Shelley’s theatre-going 13, 53, 55, 65, 66, 82
Shelley’s agent for The Cenci 91
victim of Shelley’s jokes 65
Peake, R.B.. See Presumption
Penley family 55
Pergola, La, Florence 252
Persians, The (Aeschylus) 17, 177, 178, 179, 180, 181, 182, 183, 184, 185, 186, 187, 189, 198
structure 181
Peterloo Massacre 88, 120
Petrelli, Luigia 69
Phelps, Samuel 50
Philaster (Beaumont, Francis, and John Fletcher) 120, 121
Physician of his Honour, The (Calderón, Pedro de la Barca) 132
Pieracci, Vincenzio. See Beatrice Cenci
pirouette 50, 172
Pisa 4, 47, 69, 71, 81, 115, 117, 202, 256
Pittura d’Amore, La (opera) 256
Pizzarro (Sheridan, Richard Brinsley) 24, 100
Place, Francis 36, 53
Planché, James 1. See also Vampire, The
Plato 183
Symposium 78
Plutus (Aristophanes) 212
Pocock, Isaac 66, 248, 250. See also Don Juan; Libertine, The Poet and the Women, The (Aristophanes) 214
Polcinello [Pulcinella] 223, 224
Pompeii 17, 75, 76, 155
Pope, Alexander 193
Pope, the 70
Pregliasco, Giacomo 154, 156
Presumption (Peake, R.B.) 165, 169
processions 27
Prometeo (Viganò, Salvatore) 149, 153, 154, 156, 157, 158, 159, 165, 167
Prometheus Bound (Aeschylus) 73, 151, 159, 160, 163, 184
Prometheus Unbound (Shelley, Percy Bysshe) 2, 8, 9, 45, 46, 51, 66, 77, 78, 79, 85, 97, 16, 119, 173, 174, 177, 178, 201, 204, 205, 213, 227 characterisation 160
comparison with Prometheus Bound 152, 160
costume 162, 168
dance 173
dramatic conflict 161
dramatic technique 237
importance of music and dance 153
influences 150, 153, 163
lighting effects 165
masks 168
music 170
new form of drama 175
origins 84
performability 17, 148, 175
qualities as a drama 151
relationship to ballet 153, 164
relationship to Greek theatre 77, 147
relationship to La Spada di Kenneth 158, 159
relationship to masques 164, 172
relationship to pirouette 172
relationship to Prometeo 157
relationship to Prometheus Bound 73, 151, 160, 163
relationship to Sacontala 163
relationship to science and
philosophy 149
relationship to tarantella 173
relationship to The Cabinet 169
relationship to Viganò 147, 148, 156, 171
scenic effects 148, 167
Shelley’s attitude 149
songs 166, 168, 169, 171, 172, 174
special effects 164
stage directions 148
structured for scene changes 167
use of ghost effect 161
violence 163
whether a play or a poem 148
Promise, The (Williams, Edward) 6, 80
props 29, 128
animals 24, 29, 128
models 24, 27
Prynne, William 123, 125
Historiomastix 125, 139
Psiché (Psyche) (Gardel, Pierre) 48, 59
Pucitta, Vincenzo 245, 247
Pugh, Charles 107, 127
Pulcinella. See Polcinello
Punch 18, 209, 223, 224, 234
Pyramus and Thisbe (Sgricci, Tommaso) 253
Quattro Etade La morte d’Ettore (The Death of Hector) (Sgricci, Tommaso) 178, 192, 253
Queen Caroline 18, 209, 215, 217
Quillin, Jessica 152
Quinn, Mary A. 119
Racine, Jean 74, 186
Ranger, Paul 12
Ravens, The (Pocock, Isaac) 248
Reeve, William 245, 246
Rehearsal, The (Villiers, George) 225
Reiman, Donald H. 120, 178, 179
Reiter, Seymour 18, 211, 215, 216, 227
Reliquiae Sacrae 117, 122
Remorse (Coleridge, Samuel Taylor) 2, 38, 67
Rent Day, The (Jerrold, Douglas) 11
revolution 88, 120, 121, 149
English Revolution 113, 120, 123
French Revolution 47, 88, 120
in Greece 121, 178, 179, 183
in Italy 121, 124, 192
in Spain 183
revolutionary demands 79
revolutionary spirit 233
Reynolds, Frederick 91. See also Caravan, The; Dramatist, The
Rhodes, W.B. 225, 248
Ricciardo e Zoraide (Rossini, Gioachino) 251
Richard II (Shakespeare, William) 56
Richard III (Shakespeare, William) 27, 43, 46, 66, 104, 105, 245
Richardson, Alan 85
Riches (Bland Burgess, Sir James) 57, 246
Rich, John 222
Richmond Theatre, Surrey 23
Ritter, Theodore J. 103
Rivale di se stesso, Il (Weigl, Joseph) 250
Rivals, The (Sheridan, Richard Brinsley) 36, 56
Road to Ruin, The (Holcroft, Thomas) 241
Roberts, David 33
Romantic poets 2
Rome 70, 88, 107, 156, 224
Romeo and Juliet (Shakespeare, William) 87
rosa bianca, e la rosa rossa, La (The White Rose and The Red Rose) (Mayr, Johann Simon) 71, 252
Rosenfeld, Sybil 11, 33
Rosmunda (Alfieri, Vittorio) 39, 67, 71, 253
Rossington, Michael 67
Rossini, Gioachino 67, 68, 70, 71, 154, 155, 250, 251. See also Aureliano in Palmira; Otello
Rostand, Edmond, Cyrano de Bergerac 83
Rowe, Nicholas. See Fair Penitent, The Sacontala (Jones, Sir William) 162, 169, 204, 207. See also Sakuntala (Kalidasa)
Sadler’s Wells 33
Sakuntala (Kalidasa) 162. See also Sacontala (Jones, Sir William)
Salsa, Francesco Beria di 69
Sanquirico, Alessandro 71, 154, 156, 165
scenery 24
as audience attraction 65, 71, 194
authors’ use of 30
back scene 24, 108, 166
box set 25, 93
carpenters 29, 127
changeable 24, 68, 70
cut wood 24, 62
drop scenes 24, 30, 167
earthquake 30, 151, 161, 163, 165, 203 for The Castle Spectre 30 for The Country Girl 24
gauzes 27, 166
grooves 13, 24
hinged flaps 27
historical accuracy 28, 29, 45, 68, 145
Italian influence 68
limitations 50, 97
machinists 6, 29, 161
of a sea battle 199
of a view out to sea through a
colonnade 195
of an Eastern palace 194
of mountains 24, 62, 108, 165, 166
of volcanoes 27, 161, 162, 166, 167, 174
of Westminster Abbey 127
painted by wellknown artists 24
painting 11, 28, 33, 162, 174
practicable 27, 167
range of designs 27
relationship to actors 24, 25, 26
scene changes 7, 23, 25
shutters 24, 107, 167
special effects 27, 66, 68, 127, 166, 222
standing pieces 24, 165
stock scenes 68, 107
transparencies 28, 166
trapdoors 24, 45, 62, 166, 233
water effects 34
waves 27
Schiller, Friedrich 19. See also Don Carlos; Maria Stuart
Schism in England, The (Calderón, Pedro de la Barca) 119, 132, 135
Schlegel, A.W. 5, 14, 17, 71, 73, 75, 79, 87, 98, 112, 151, 152, 153, 168, 174, 177, 212, 213, 220
on Aristophanes 213
on Calderón 77
on commedia dell’arte 220
on Greek theatre 72, 77, 158
on Greek theatre architecture 76
on performance 78
on Restoration theatre 74
on the combination of arts 72
on the unities 74
School for Scandal, A (Sheridan, Richard Brinsley) 55, 62, 65, 247
Scott-Kilvert, Diana 243
Scott, Sir Walter 2, 3, 36, 80, 121. See also House of Aspen, The Essay on Drama 3
Scrivener, Michael 118
Sejanus, His Fall (Jonson, Ben) 102, 121, 131
Sgricci, Tommaso 18, 67, 71, 156, 177, 178, 193, 253. See also Inez de Castro; Quattro Etade La morte d’Ettore
description 190
difference from other improvvisatori 190
Shakespeare, William 4, 17, 77, 93. See also Antony & Cleopatra; As You Like It; Coriolanus; Cymbeline; Hamlet; Henry IV; Henry V; Henry VI; Henry VIII; Julius Caesar; ing John; Macbeth; Merchant of Venice, The; Othello; Richard II; Richard III; Romeo and Juliet; Troilus and Cressida; Two Noble Kinsmen
Shee, Martin. See Alasco
Sheil, Richard Lalor. See Apostate, The
Shelley, Bryan 85
Shelley, Hellen 55, 56
Shelley, Mary 14, 53, 59, 60, 61, 62, 66, 69, 70, 71, 73, 75, 80, 115, 116, 118, 130, 144, 156, 191, 192, 203, 205, 222, 243, 252
Frankenstein 165
Note to Swellfoot 212
on Charles the First 115
on Eliza O’Neill as Beatrice 98
on The Cenci 110
Shelley, Percy Bysshe. See also Cenci, The; Charles the First; Fragments of an Unfinished rama; Hellas; Prometheus Unbound; Swellfoot the Tyrant; Tasso 1818 arrives in Italy 67, 82
Adonais 144, 178
and ballet performances 50, 66, 68, 70
Shelley, Percy Bysshe (cont.)
and burlesque performances 225
and commedia dell’arte
performances 219
and opera performances 47, 62, 66, 71
and Punch and Judy performances 224
and puppet performances 220
and Sgricci performances 71
and theatre performances 43, 45, 46, 54, 65, 67
as a closet dramatist 2, 5
attends theatre for first time 23
attitude to Aristophanes 213
attitude to revolution 124
attitude to theatre 10, 13, 14, 19, 29, 37, 51, 53, 60, 63, 81, 82, 92, 112
attitude to the audience 36
Boat on the Serchio, The 138
childhood 57
Defence of Poetry, A 14, 15, 19, 71, 72, 73, 74, 78, 138, 167, 173, 186, 207, 222
Don Giovanni seen many times 62, 65
dramatic technique 129, 132, 137, 139, 146, 200, 207, 240
family links to theatre 54
gold and purple symbolism 161, 162, 227
influence of Aeschylus 77, 180, 189
influence of Aristophanes 77
influence of Greek theatre 51
influence of Schlegel 14, 152
influence of Sophocles 73
influences 77
interest in acrobatics 222
interest in Greek theatre 77
interest in Indian culture 163, 204
interest in masks 222
interest in volcanoes 163
Julian and Maddalo 115
juvenile plays 56
knowledge of Greek 73
knowledge of Spanish 77
Laon and Cythna 210
Mask of Anarchy, The 174, 215, 218, 233
meets Hazlitt 62
method of working 113, 118
modern performance possibilities 242
Ode to Liberty 80, 212
on A School for Scandal 65
on Beatrice Cenci 99
on Byron’s plays 81
on Calderón 77
on character and plot 78
on Eliza O’Neill as Beatrice in The, Cenci 91, 98
on Fazio 97
on Greek culture 60, 73
on Greek theatre 72, 76
on Kean as Hamlet 60
on neo-classical drama 75
on obscenity 211
on Plato’s Symposium 78
on politics and art 79
on Restoration theatre 74
on Sgricci 191
On the Manners of the Ancient Greeks 213
on Viganò 153
performability of his plays 9
performs allegedly at Windsor 55
Peter Bell the Third 226
Philosophical View of Reform, A 19, 79, 88, 120, 123, 124, 217
pretends to be a gamekeeper 55
Queen Mab 35, 147
range of play-reading 80
reaction to the Alps 153
reading aloud 4, 119, 120, 121
reading of Greek drama 73, 79
records of performances seen 14, 54, 62.
See also Appendix 1
relationship to other writers 235
relationship to radicals 11, 35
relationship to Schlegel 78
relationship to The Cabinet 45
Revolt of Islam, The 147
sketch for a play on Napoleon 120, 198
theatrical influences 9, 13
thoroughness of his research 83
translations of drama 19
Triumph of Life, The 115
Witch of Atlas, The 206
Shelley, Sir Timothy 54, 55
Sheridan, Richard Brinsley 24, 29, 54, 65, 91. See also Pizzarro; Rivals, The; School for Scandal, A
Shields, William, Lock and Key 246
Siddons, Sarah 4, 5, 40, 41, 45, 46, 59, 62, 66, 87, 91, 93, 99, 100, 102, 121, 133, 245, 246
greatest roles 41, 57, 59
De Montfort 6
The Grecian Daughter 58
Simpson, Michael 85
Sinclair, John 66, 253
Smirke, Robert 45
Smith, Horace 75, 81, 124, 143, 179
Smith, Marian, Ballet and Opera in the Age of Giselle 49
Smith, Paul 90
songs 134
A Widowed Bird 134
Archy’s song in Charles the First 134
Beatrice’s song in The Cenci 108
echo songs 169
Grimaldi song 44
in Bombastes Furioso 225
in commedia dell’arte 220
in Fazio 97
in Greek theatre 152, 202
in pantomime 222
programmes of songs 32, 66. See also
Appendix II
Tazee be tazee no be no 204
The Favourite Song of Timothy 44
Willow song in Othello 108
witches’ songs in Macbeth 29
Sophocles 72, 73, 79. See also Antigone; Oedipus at Colonus; Oedipus Tyrannus
sound effects 162
bird song 28
thunder 27, 28, 108, 151, 165
wind 28, 161, 165
Southern, Richard 11
Southern, Thomas. See Fatal Marriage, The
Southey, Robert 2
Spada di Kenneth, La (Viganò, Salvatore) 71, 153, 154, 156, 159, 166, 170, 250, 251
comparison with Prometheus
Unbound 159
plot 159
scenery 158
Spanish Dollars, or the Priest of the Parish (Cherry, Andrew) 257
Speaight, George 18
Speed the Plough (Morton, Thomas) 31, 109
Sperry, Stuart M. 90
Stabler, Jane 26
Staël, Mme de 75
Corinne 173
Of the Revolution 120 stage boxes 23
forestage 23, 24, 25, 26, 27, 108, 127, 132, 137, 172, 199
proscenium arch 25, 27, 45, 70
proscenium doors 23, 26, 105, 131, 137
Stanfield, Clarkson 33
Stendhal (Marie-Henri Beyle) 70, 87, 153, 154, 155, 156
Stirling, Edward 34
Storace, Stephen 58, 246
Stranger, The (Kotzebue, Auguste) (trans.
Benjamin Thompson) 99, 100
supernatural 120, 169, 171, 188, 201, 205, 223, 230
Surrey Theatre 15, 22, 23, 33, 34, 95, 96, 97, 110, 145
Sutcliffe, Barry 10, 31, 32
Swellfoot the Tyrant (Shelley, Percy
Bysshe) 9, 46, 51, 132, 207, 225
characterisation 228, 231
characters as animals 219
dramatic technique 238
influences 209, 212, 214
origins 209, 212, 217
parody of Prometheus Unbound 213
performability 19, 210, 234
political perspective 209, 211, 217, 227, 230, 233, 234
relationship to Aristophanes 215
relationship to burlesque 227
relationship to Charles Mathews 226
relationship to Chrononhotonthologos 225
relationship to commedia dell’arte 219, 222, 228
relationship to Greek theatre 77
relationship to Oedipus Tyrannus 227
relationship to pantomime 223
relationship to parabasis 214
relationship to Punch 224
relationship to Shakespeare 230
relationship to The Frogs 214
satirical characterisation 217
scenery 227, 231, 232
songs 213, 229
structure 234
use of language 229
use of masks 219
use of special effects 233
use of the chorus 228, 231, 232, 233
Swindells, Julia 10
Sylphide, The 49
Syon House School 22
Tacchinardi, Nicola 69, 71, 253
Taglioni, Marie 48, 70. See also Giselle; Sylphide, The
Taglioni, Salvatore 70, 251
Tale of Mystery, A (Holcroft, Thomas) 31
tarantella 173
Tasso (Shelley, Percy Bysshe) 78, 82, 83, 148
dramatic potential 83
dramatic technique 237
plans for the play 82
reasons for discarding the play 84
Tasso, Torquato 82, 84
flattery in his sonnets 83
Taylor, George 12
Teatro della Pergola, Florence 13, 70, 71, 252
Teatro Il Cocomero, Florence 70, 71, 252
Teatro La Fenice, Venice 68, 71
Teatro Regio, Turin 67, 149
Teatro Rossi, Pisa 71, 252, 256
Teatro San Benedetto, Venice 69
Teatro San Carlo, Naples 62, 70, 149, 251
Teatro Vendramin S. Luca (now Teatro Goldoni) 69
Teresa e Claudio (Farinelli, Giuseppe) 63, 245
Terry, Daniel 3
Tetreault, Ronald 150, 164, 210, 212, 213
Theatre amateur 22, 36, 54, 202, 203
Gothic drama 30, 88, 107, 108, 109, 110
Italian influence 68
minor theatres 12, 34
overlap of patent and minor theatres 15, 33, 145
patent theatres 32. See also Covent
Garden Theatre; Drury Lane Theatre
private 3, 18, 22, 35, 55, 200, 209
programme 66
publication and performance 39. See also closet drama
reading aloud, importance of 80
resources 29, 50
strolling players 22
subsidised 149
touring 21, 41, 55, 68
theatre architecture 12
auditorium 26, 27, 45, 68, 70
Covent Garden 1810 45
flying tower 27
in England 68
Italian influence 68
La Scala 68
Naples 70
Richmond Theatre, Surrey 23
Rome 70
typical 23
Victorian theatre 50
Theatre Royal, Bath 95
Theatre Royal, Brighton 55
Theatre Royal, Bury St Edmunds 13, 26
revivals of Georgian drama 5, 241
Theatre Royal, Windsor 55, 59, 65
theatres, other uses 61, 67
Theatrical Courier
on Kean’s Hamlet 60
Theatrical Indicator, The 65
Theatrical Inquisitor and Monthly Mirror 92
Theatrical Repertory 44
Theological Inquirer 35
Thorndike, Dame Sybil 8, 85, 92, 93
Thornton, manager of Theatre Royal,
Windsor 55
Thucydides 60
Timour the Tartar (Lewis, Matthew Gregory ’Monk’) 29, 127
Titani, I (Viganò, Salvatore) 154
Tobin, John 57, 112, 246. See also Honeymoon, The
Tom and Jerry (Moncrieff, William
Thomas) 38
Tom Thumb (Fielding, Henry) 225, 226
Tomkins, Charles 33
Tomkins, Mr. 71
Tottenham Street Theatre (later West London) 34
Travellers, The (Cherry, Andrew, and Domenico Corri) 257
Trelawny, Edward John 14, 81, 117, 202, 203, 207, 256 on Charles the First 117
Troilus and Cressida (Shakespeare, William) 121, 131
Trussler, Simon 19
Tryal of Sir Harry Vane, The (anon) 117
Turin 67, 70
Turner, W.J. 109
Two Noble Kinsmen (Shakespeare, William and John Fletcher) 80
tyranny 79, 90, 102, 113, 120, 132, 151, 157, 161, 163, 180, 181, 184, 188, 198
censorship 145
Charles I 121, 130
plays about 120, 121
Urlin, Ethel 172
Vampire, The (Planché, James) 120
Vandenhoff, George 46
Vargo, Lisa 150
Venice 68, 69, 252
Venice Preserv’d (Otway, Thomas) 99
Vestale, La (Pucitta, Vincenzo) 47, 59, 63, 247
Vestale, La (Viganò, Salvatore) 153, 154, 155, 156
Vestris, Armand (son of Auguste Vestris) 50, 172, 245
1817 retires from King’s Theatre 66
Vestris, Auguste 50, 172
Viganò, Salvatore 16, 48, 67, 68, 70, 84, 147, 148, 149, 150, 159, 167, 170, 174, 250, 251, 252. See also Dedalo; Giovanna d’Arco; Mirra; Otello; Prometeo; Spada di Kenneth, La; Titani, I; Vestale, La relationship of ballets to paintings 157 use of music 157
views of Shelley, Lady Morgan and Stendhal 155
Village Doctor, The 245
Villeggiatori Bizzarri, I 245
Villiers, George, 2nd Duke of Buckingham. See Rehearsal, The Virgin Unmask’d, The (Fielding, Henry) 44, 45
Vitruvius 75
Viviani, Emilia (Teresa) 184
Volpone (Jonson, Ben) 80, 212
Walker, Constance 182
Wallace, Jennifer 18
Walpole, Horace. See Mysterious Mother, The
Wasserman, Earl 88, 101, 150, 161, 163, 164, 180
Weaver, John. See Loves of Mars and Venus
Webb, Timothy 2, 14, 202, 204, 205, 210, 211, 212
Weber, Carl Maria Friedrich Ernst von. See Freischütz, Der
Webster, John. See White Devil, The
Weinberg, Alan 101
Wellington, Duke of 215
Werner (Byron, Lord George Gordon Noel) 38, 81, 104, 144
West Indian, The (Cumberland, Richard) 203
Weston, Thomas 42
Wheel of Fortune, The (Cumberland, Richard) 35, 203
White Devil, The (Webster, John) 102
Whitelocke, Bulstrode, Memorials 117, 122, 123, 125, 128, 129, 130, 132, 139, 140
White, N.I. 93, 209
Whitton, William 55
Wiegl, Joseph. See Il rivale di se stesso
Wife for a Month, A (Beaumont, Francis, and John Fletcher) 120
Wild Oats (O’Keeffe, John) 240
Wilkinson, Tate 41
Williams, Edward 6, 14, 54, 61, 69, 71, 80, 81, 144, 202, 203, 205. See also Promise, The
on Byron’s plays 81
on Charles the First 81, 117
on Hellas 177
Williams, Jane 203, 204, 205
Williams, Raymond, Drama and Performance 13
Winter, Peter von. See Etelinda
Wit Without Money (Beaumont, Francis, and John Fletcher) 138
Wives as They Were, Maids as They Are (Inchbald, Elizabeth) 241
Woelff, Joseph 56
Woodings, R.B. 115, 122
Wordsworth, William 2, 135, 226. See also Borderers, The
Worrall, David 11, 32, 34, 110, 145, 209
Wycherley, William. See Country Wife, The
Xenophon 60
Yates, Mrs. 41
Yost, George 87
Young, Art 214
Young, Charles 245
Young, Julian Charles 39, 41
Zephyr, ou le Retour du Printemps 49, 249, 250
Zulica, ou les Peruviens 248
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