Get Absence and Memory in Colonial American Theatre: Fiorelli’s PDF

By O. Johnson

ISBN-10: 1137099615

ISBN-13: 9781137099617

ISBN-10: 1349735841

ISBN-13: 9781349735846

History, they are saying, has a grimy tongue. on the subject of colonial theatre in the United States, what we all know approximately functionality has come from the detractors of theatre and never its manufacturers. but this doesn't account for the flourishing theatrical circuit validated among 1760 and 1776. This learn explores the culture's social help of the theatre.

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Extra info for Absence and Memory in Colonial American Theatre: Fiorelli’s Plaster

Example text

Once permission was secured, Hallam raised a new playhouse-in a town that had seen at least three prior temporary playhouses-and his company played for a substantial season, performing three nights a week for six months. Yet at the conclusion, again he neither made plans to retain the building nor made plans to return to the city, though to their credit they did advertise to payoff their debts. Lewis Hallam sold his new theatre at Nassau Street to a congregation of German Calvinists and moved on to Philadelphia.

Sauthier's Maps ~ "A DREARY WASTE" AND THE GOVERNOR'S GARDEN At last America is in my view; a dreary Waste ofwhite barren sand, and melancholy, nodding pines. In the course of many miles, no cheerful cottage has blest my eyes. All seems dreary, savage, and desert . My heart dies within me, while I view it, and I am glad ofan interruption by the arrival ofa pilot-boat, the master ofwhich appears a worthy inhabitant ofthe woods before us. " Janet Schaw, The Journal ofa Lady of Quality So Janet Schaw described North Carolina when she regretfully arrived in that "dreary waste" in March of 1775.

Yet at the conclusion, again he neither made plans to retain the building nor made plans to return to the city, though to their credit they did advertise to payoff their debts. Lewis Hallam sold his new theatre at Nassau Street to a congregation of German Calvinists and moved on to Philadelphia. This pattern established the Hallam Company as strollers, increasingly conscientious strollers, but strollers nonetheless with no intention of maintaining permanent property in or relations with the communities for whom they performed.

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Absence and Memory in Colonial American Theatre: Fiorelli’s Plaster by O. Johnson


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