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OpenEdition Books

The Theatre of Shelley

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Jacqueline Mulhallen

Index

Texte intégral

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