New PDF release: The Profession of the Playwright: British Theatre, 1800-1900
By John Russell Stephens
This is often the 1st publication to envision the operating international of the playwright in nineteenth-century Britain. It used to be frequently a dicy and financially doubtful career, but the magic of the theater attracted authors from commonly diverse backgrounds--journalists, attorneys, churchmen, civil servants, printers, and actors, in addition to well-known poets and novelists. In a desirable account of the frustrations and the rewards of dramatic authorship, Stephens uncovers clean details at the playwright's profits, relationships with actors, managers, publishers, and viewers, and gives a brand new point of view on his turning out to be prestige as a certified. additional chapters concentrate on the fight for copyright reform and the complexities of dramatic publishing. quite a few significant and minor authors are mentioned, between them Planché, Fitzball, Boucicault, Pinero, Grundy, Gilbert, Jones, and Shaw.
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Extra info for The Profession of the Playwright: British Theatre, 1800-1900
Other dramatists were originally solicitors or articled clerks, such as John Westland Marston, John Oxenford, Frederick Broughton, John Kingdom, and Shirley Brooks. William Dimond, Richard Lalor Sheil, and F. C. Burnand were all law students when their earliest plays were produced in the London theatres, though the last-named as a student at Trinity had some pieces staged previously by Cambridge ADC, which (with J. W. Clark) he founded in 1855. All three later obtained legal qualifications, but other authors such as Frederick Reynolds, Thomas Morton and Henry J.
N Such fees were well beyond the usual levels of remuneration, but at Covent Garden occasional supplements to agreed fees were not uncommon. 12 The practice earned Thomas Harris a reputation, for the most part, of fair dealing in a world where such a virtue was untypical. As middle-of-the-road professionals Frederick Reynolds and Tom Dibdin were able to command sufficiently good terms to enable them to sustain wholly adequate and even well-to-do 6 A devil of a trade' 29 livings out of their careers as professional playwrights.
15 Dramatic authorship had more than a touch of bohemianism about it. It was an engaging world, a strange mixture of tawdriness and grandeur, raffishness and respectability. Most of the more prominent dramatic authors tended to be members, not just of the Garrick, which was formed under aristocratic patronage specifically for the theatrical fraternity and their supporters, but of a whole range of smaller, less formal clubs. The Savage, the Re-Union, the Cosmopolitan, and the Arundel all had a strongly non-conventional flavour, and were complemented by a profusion of lesser-known groups and coteries of theatrical and literary men who would meet for a smoke, a drink, and a meal at regular intervals, much along the lines of the group known as the 'Owl's Roost', affectionately portrayed in T.
The Profession of the Playwright: British Theatre, 1800-1900 by John Russell Stephens