Part 1, including contributions from Robert Hume, Michael Cordner, Paula Backscheider, and Judith Milhous, deals specifically with overlooked source materials that challenge commonly held beliefs about theatre in the long eighteenth century. Milhous undertakes the daunting task of examining account books and similar financial records as an untapped source of information about historical theatre practice.
Lisa A. Freeman
Together, these chapters seek to expand our view of governmental regulation in British theatre. Part 3 moves outside of London, where Michael Dobson, Susan Cannon Harris, and Helen Burke find evidence of the important, often subversive cultural work performed by amateur provincial thespians and Irish theatre professionals.
He argues that productions seeking no profit are nonetheless culturally important and worthy of study by theatre historians. Burke reads English critiques of Dublin audiences against the grain, extracting a repertoire of native performance practices that used the theatre as a space of cultural resistance.
Mita Choudhury addresses the appeal to universality as a means of repressing the representation of Otherness and racial difference onstage. Holland calls for further work into Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide.
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Players, Playwrights, Playhouses: Investigating Performance, 1660-1800
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