Titlebook: Romantic Actors, Romantic Dramas; British Tragedy on t James Armstrong Book 2022 The Editor(s) (if applicable) and The Author(s), under exc

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The Progress of British Romantic Drama: A Brief Tour,e. In doing so, they trace the steps of countless visitors who have toured the building since Walpole himself opened it to the public, turning the gothic-style country retreat into an attraction for eighteenth-century tourists. In 1784, Walpole even printed a description of his villa to further aid

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,Summoning Siddons: Joanna Baillie’s Play for the Stage,ship of luminaries like Walter Scott, and—as we will see in the next chapter—influenced the successful dramaturgy of Samuel Taylor Coleridge. . calls Baillie “the most respected female dramatist of the early nineteenth century,” but some of her contemporaries went beyond this, praising her as the gr

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, and a Certain Glover: Coleridge’s Unapologetic Dramatics,ed for the stage in spite of its reputation for being a closet drama. As the preeminent actress of her age, Siddons inspired more playwrights than just Baillie. As we have seen, a number of British writers penned vehicles for Siddons, including Sophia Lee, who in the eyes of contemporary reviewers h

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Introduction: The Age of the Actor,y.” This book seeks to answer the questions of how and why actors from the Romantic era influenced major writers. The key to understanding that influence is to appreciate the fact that, as Robinson observed, the great literary works of the period were “written with stage production and, given the star system, with specific actors in mind.”

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,Kean for the Stage: Byron’s Self-Fashioning in ,ot have been his London debut, since he had appeared on stage at Drury Lane as a child actor, even allegedly causing a ruckus while playing a goblin in a production of . that starred Siddons. Still, when Kean appeared on stage at Drury Lane that January night in 1814, he was a virtual unknown in London, though he would not stay so for long.

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