By Laura Monros-Gaspa
The Victorian classical burlesque was once a well-liked theatrical style of the mid-19th century. It parodied historical tragedies with track, melodrama, pastiche, cruel satire and gender reversal. Immensely well known in its day, the style used to be additionally intensely metatheatrical and contains importance for reception stories, the position and notion of girls in Victorian society and the tradition of creative censorship.This anthology comprises the annotated textual content of 4 significant classical burlesques: Antigone Travestie (1845) by way of Edward L. Blanchard, Medea; or, the easiest of moms with a Brute of a Husband (1856) by means of Robert Brough, Alcestis; the unique Strong-Minded girl (1850) and Electra in a brand new electrical mild (1859) by way of Francis Talfourd. The cultural and textual annotations spotlight the alterations made to the scripts from the manuscripts despatched to the Lord Chamberlain's workplace and, by means of explaining the topical allusions and satire, elucidate components of the burlesques' renowned cultural milieu.An in-depth severe advent discusses the ancient contexts of the plays' premieres and unveils the cultural approaches in the back of the reception of the myths and unique tragedies. because the burlesques mixed impressive results with allusions to modern affairs, ambivalent and provocative attitudes to girls, the performs signify a necessary device for examining the social historical past of the period.
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Additional resources for Victorian Classical Burlesques: A Critical Anthology (Bloomsbury Studies in Classical Reception)
Howell. Jason and Medea: A Ramble after a Colchian. A Classical Burlesque (1878) Amcotts, V. Ariadne: or, The Bull! The Bully!! And The Bullion!!! (1870, Oxford) Pentheus: A Burlesque in Three Acts. Founded to a Certain Extent on the ‘Bacchae’ of Euripides (1866, Oxford) Bayly, N. T. H. Cupid (Olympic, 1832) Blanchard, E. L. Antigone Travestie (Strand, 1845) Brough, R. B. Medea; or, the Best of Mothers, with a Brute of a Husband. A Burlesque, in One Act (Olympic, 1856) The Siege of Troy (Lyceum, 1858) The Sphinx (with W.
22 Victorian Classical Burlesques Polynices’ crime in the burlesque is an unpaid debt of £5 which has thrown him into Whitecross Street Prison,93 the debtor’s jail which the managing director of the ‘Independent’ company, Thomas Knowles, had already frequented some years before the fraud. An added touch of humour is Antigone’s allusion to the debt as a ‘ﬁve pound note . . 37–38). Peel’s Act in 1844 restricted the issue of bank notes to the Bank of England’s gold reserves and established a separate department for the issue of promissory notes, which granted special privileges to the company.
Public debates concerning divorce in the mid-nineteenth century span the years 1850 to 1857 and coincide in time with the ﬁrst staging of Talfourd’s Alcestis (1850) and the reception of Brough’s Medea (1856). Yet the two plays are far from being isolated literary mirrors of such debates. 132 Indeed, in 1851, for example, Caroline Norton ﬁctionalized the well-known story of her unfortunate marriage in Stuart of Dunleath. Moreover, as noted by Hall and Macintosh,133 only a few years after the ﬁrst performance of the failed-marriage plot in Alcestis and Medea, sensation novels and their corresponding dramatizations hinging on bigamy and adultery for their plots were ﬂooding Why Classical Burlesque?
Victorian Classical Burlesques: A Critical Anthology (Bloomsbury Studies in Classical Reception) by Laura Monros-Gaspa