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Klappentext An analysis of the diverse focus of dramatic production in 1640s and 1650s England. Zusammenfassung In 1642 an ordinance closed the theatres of England. Historians have assumed that the edict was to be firm and inviolate. Susan Wiseman challenges this assumption and argues that the period 1640 to 1660 was not a gap in the production and performance of drama. Rather! writers focused instead on a range of dramas with political perspectives! from republican to royalist. Inhaltsverzeichnis List of illustrations; A note on texts and list of abbreviations; Acknowledgements; Preface; Introduction: how the drama disappeared; Part I. 1642-1649: Cases in Politics and Drama: 1. New news for a new world? Genre, politics and the news dialogues of the 1640s; 2. 'With the agreement of the people in their hands': transformations of 'radical' drama in the 1640s; 3. Royalist versus republican ethics and aesthetics: The Famous Tragedie of Charles I and The Tragedy of the Famous Orator Marcus Tullius Cicero; Interchapter: 'The Life of Action': playing, action and discourse on performance in the 1640s; Part II. The 1650s: Protectorate, Politics and Performance: 4. Gender and status in dramatic discourse: Margaret Cavendish, Duchess of Newcastle; 5. Royal or reformed? The politics of court entertainment in translation and performance; 6. National identity, topic and genre in Davenant's Protectorate opera; 7. Genre, politics and place: the social body in the dramatic career of John Tatham; 8. True and loyal? Politics and genre in Civil War and Protectorate tragicomedy; Coda; Notes; Select bibliography; Index.
