Gothic Drama in Great Britain

(1768-1823)

 

Lewis's Castle Spectre

Reenter the Bleeding Nun

 Internet Resources: The Haunted Curtain: Gothic Drama in the Romantic Age, 1760-1830

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General Studies

ADELSPERGER, Walter Charles. “Aspects of Staging of Plays of the Gothic Revival in England.” [GGI: 1053].

BACKSCHEIDER, Paula R. “Gothic Drama and National Crisis.” In Spectacular Politics: Theatrical Power in Mass Culture in Early Modern England. [GGII: 0636].

BACKSCHEIDER, Paula R. “Reflections on the Importance of Romantic Drama.” Texas Studies in Literature and Language 41 (19-99): 311-29.

CARPI, Daniela. “Il Soprannaturale nel teatro Elisibettiano e ne romanzo gotico.” [GGII: 0637].

COON, Roberta A. “Gothic Novel and Drama: The Moral Concern.” Master’s Thesis, University of Nevada, Reno, 1969.

CORTI, Claudia. “'An Amphitheatrical Attack on the Bastille': Orrori gotici e terrori giocobinisulle scene del Romanticismo inglese“ (91-108). In Il teatro della paura: Scenari gotici del romanticismo europeo, eds. Diego Saglia. Giovanna Silvani. Roma: Bulzoni. 2005.

COX, Jeffrey N. “Introduction.” To Seven Gothic Dramas, 1789-1825. [GGII: 0638].

COX, Jeffrey N . “Gothic Drama” (pp. 73-75). In The Handbook to Gothic Literature, ed. Marie Mulvey-Roberts. New York: New York University Press, 1998.

COX, Jeffrey N. “Introduction: Reanimating Gothic Drama.” Gothic Studies 3 (2001): 107-16.

COX, Jeffrey N. “English Gothic Theatre” (pp. 125-44). In The Cambridge Companion to Gothic Fiction, ed. Jerrold E. Hogle. Cambridge, UK: Cambridge University Press, 2002.

COX, Jeffrey. “Re-viewing Romantic Drama.“ Literature Compass 1 (2003): 1-27.

CROCHUNIS. Thomas C. “Writing Gothic Theatrical Spaces.” Gothic Studies 3 (2001): 156-69.

DANIEL, Amudha Meriam Rebecca. “An Analysis of Five Gothic Dramas in Relation with the Seven Deadly Sins.” Honors Thesis, Albion College , 1994.

DOE, Donald Bartlett. “The Sublime as an Æsthetic Correlative: A Study of Late Eighteenth-Century English Æsthetic Theory, Landscape Painting, and Gothic Drama.” [GGI: 1057].

EVANS, Bertrand. Gothic Drama from Walpole to Shelley. [GGI: 1059].

FRANCESCHINA, John. “Introduction” (pp. 1-13). To Sisters of Gore: Gothic Melodramas by British Women, 1790-1843. New York: Garland Publishing, 1997.

FRANK, Frederick. “Gothic Drama” (pp. 147-64).  In Gothic Writers: A Critical and Bibliographical Guide, eds. Douglass S. Thomson, Jack G. Voller, and Frederick S. Frank. Westport, CT: Greenwood Press, 2002.

FRANK, Frederick S., ed.  The Origins of the Modern Study of Gothic Drama, Together with a Re-Edition of GOTHIC DRAMA FROM WALPOLE TO SHELLEY (1947) by Bertrand Evans, with new notes and expanded bibliography. Lewiston, NY: Edwin Mellen Press, 2006.

HAGGERTY, George. “Psychodrama: Hypertheatri-cality and Sexual Excess on the Gothic Stage.” Theatre Research International 28 (2003): 20-33.

HANAWALT, Leslie L. “The Rise of Gothic Drama, 1765-1800.” [GGI: 1061].

HOEVELER, Diane Long. “Gothic Drama as Nationalistic Catharsis.” Wordsworth Circle 31 (2000): 169-72.

INVERSO, Mary Beth. “A Coffin-Square of Limelight: Gothic Narrative and the New Gothic Drama.” [GGII: 0642].

INVERSO, Mary Beth. The Gothic Impulse in Contemporary Drama. [GGII: 0643].

KAUFMAN, Pamela J. “Oedipus and the Gothic Drama: A Psychologic Study of the Gothic Drama in Eight-eenth Century England.” [GGI: 1065].

LOOMIS, Emerson R. “Gothic Drama as a Source for Gothic Fiction in the Magazines.” [GGI: 1068].

MC CLAMROCH, Roland. “The Gothic Drama.“ Unpublished Doctoral Dissertation. University of North Carolina, 1927.

NEUFELD, Mary Diana. “The Adaptation of the Gothic Novel to the English Stage, 1765-1826.” [GGI: 10-69].

NIKOLOPOULOU, Anastasia George. “Artisan Culture and the English Gothic Melodrama, 1780-1830.” [GG-II: 0644].

NUNIUS, Sabine. Tedious Virtue. Fascinating Evil: Forms and Functions of the Villain in Gothic Melodrama. Nürnberg: Mémoire de maîtrise. Université Erlangen-Nürnberg. 2005.

PARTIN, Bruce Lynn. “The Horror Play: Its Transition from the Epic to the Dramatic Mode.” [GGI: 1072].

PINSON, Ernest J. “The Black Sun: A Re-evaluation of Gothic Drama and its Influence.” [GGI: 1075.

PURINTON. Marjean D. “Theatricalized Bodies and Spirits: Techno Gothic as Performance in Romantic Drama.” Gothic Studies 3 (2001): 134-55.

RANGER, Paul. “Terror and Pity Reign in Every Breast”: Gothic Drama in the London Patent Theatres, 1750-1820. [GGII: 0645].

SAGLIA, Diego. Il Teatro della paura: Scenari gotici del romanticismo europeo. Roma: Bulzoni, 2005.

SWEENEY, Christopher Shawn. “‘The drama is a haunted ruin’: Theatrical Ghosts and the Necromantic Stage.” Dissertation Abstracts International 63:12 (2003): 4154 (University of Rochester).

STRAUB, August W. and Rhona JUSTICE-MAL-LOY.” Gothic and Post-Gothic Theatre: Cities, Paradise, Corrales, Globes, and Olimpico.” Theatre Symposium: A Journal of the Southeastern Theatre Conference 4 (1996): 132-39.

THORPE, Willard. “The Stage Adventures of Some Gothic Novels.” [GGI: 1080].

WORRALL, David. “The Political Culture of Gothic Drama” (pp. 94-106). In A Companion to the Gothic, ed. David Punter. Oxford, UK and Malden, MA : Blackwell Publishers, 2000.

WORRALL, David. “The Mysterious Murder and The Murdered Maid: The Case of Mary Ashford and the Cultural Contest of Late-Regency Melodrama.” Gothic Studies 3 (2001): 181-95.

Joanna Baillie (1762-1851)

BURROUGHS, Catherine B. Closet Stages: Joanna Baillie and the Theater Theory of British Women Writers. Philadelphia: University of Pennsylvania Press, 1997.

BURROUGHS, Catherine B. “Teaching the Theory and Practice of Women’s Dramaturgy.” Romanticism on the Net 12 (November 1998): <http://www-sul.stanford.edu/mirrors/ romnet/> accessed: 14 December 1998.

CARLSON, Julie A. “Baillie's Orra: Shrinking in Fear” (206-20). In Joanna Baillie, Romantic Dramatist: Critical Essays, ed. Thomas C. Crochunis. London: Routledge, 2004.

COX, Jeffrey N. “Baillie, Siddons, Larpent: Gender, Power, and Politics in the Theatre of Romanticism.” Women in British Romantic Theatre: Drama, Performance, and Society, 1790-1840, ed. Catherine Burroughs. Cambridge, UK: Cambridge University Press, 2000.

ELLIOTT, Nathan. “‘Unball'd Sockets’ and ‘The Mockery of Speech’: Diagnostic Anxiety and the Theater of Joanna Baillie.” European Romantic Review 18 (2007): 83-103. [GGIV: 0000]. 

GAMER, Michael. “National Supernaturalism: Joanna Baillie, Germany, and the Gothic Drama.” Theatre Survey 38 (1997): 49-88.

GILBERT, Deirdre Elizabeth. “Joanna Baillie: Passionate Anatomist.” Dissertation Abstracts International 64:1 (2003): 154 (University of Denver).

HEWITT, Regina. “Joanna Baillie's Stardom: Social Claims, Literary Objects, and Scholarly Lenses.“ Literature Compass 1 (2004): 1-13. 

HOEVELER. Diane. “Joanna Baillie and the Gothic Body: Reading Extremities in Orra and De Monfort.” Gothic Studies 3 (2001): 117-33.

PATTEN, Janice. “Joanna Baillie, A Series of Plays” (pp. 169-78). In A Companion to Romanticism, ed. Duncan Wu. Oxford, UK and Malden, MA: Blackwell Publishers, 1998.

PURINTON, Marjean D. “Science Fiction and Tech-no-Gothic Drama: Romantic Playwrights Joanna Baillie and Jane Scott.” Romanticism On the Net 21 (February 2001).

James Boaden (1762-1839)

COHAN, Steven. “Introduction” (pp. iii-xxxvii). To The Plays of James Boaden. New York: Garland Publishing, 1980.

Thomas Frognall Dibdin (1776-1847)

UNSIGNED. “Masters of the Melodrama––The Centenary of Thomas Dibdin––From Gothic to the Crime Play.” Times Literary Supplement 20 September 1944: 470.

Richard Cumberland (1732-1811)

RITZ, Regis. “Le Voyage souterrain dans les tragedies gothiques de Richard Cumberland.“ Bulletin de la Société d'Etudes Anglo-Américaines des XVIIe et XVIIIe Siècles 8 (1979): 113-25. 

Catherine Gore (1799-1861)

ANDERSON, Bonnie. “The Writings of Catherine Gore.” Journal of Popular Culture 10 (1976): 404-23. Details the life of the novelist and playwright Catherine Grace Frances Gore. Her best known novel is Cecil; or, The Adventures of a Coxcomb and her best know play is her Gothic melodrama The Bond. 

 Thomas Holcroft (1745-1809)

HOEVELER, Diane. “The Temple of Morality: Thomas Holcroft and the Swerve of Melodrama.” European Romantic Review 14 (2003): 49-63.

                                                  August von Kotzebue (1761-1819)

FARESE, Carlotta. ““Rule, Kotzebue, then, and Britannia Rule!: Considerazioni sulla recezione dell'opera di August von Kotzebue in Inghilterra fra Sette e Ottocento“ (47-59). In Il Teatro della paura: Scenari gotici del romanticismo europeo, eds. Diego Saglia, Giovanna Silvani. Roma: Bulzoni, 2005.

                                                   Mary Russell Mitford (1787-1855)

SAGLIA, Diego. “Historical Tragedy: The Fate of Gothic Drama, and Mary Russell Mitford's Julian“ (165-78). In Il Teatro della paura: Scenari gotici del romanticismo europeo, eds. Diego Saglia, Giovanna Silvani. Roma: Bulzoni, 2005.

                                                        Thomas Morton (1764-1838)

SAGGINI, Francesca. “'A Stage of Tears and Terror': Il Teatro (gotico) inglese di fine Settecento“ (61-76). In Il Teatro della paura: Scenari gotici del romanticismo europeo, eds. Diego Saglia, Giovanna Silvani. Roma: Bulzoni, 2005.

                                                Richard Brinsley Peake (1792-1847)

FORRY, Steven Earl. “An Early Conflict Involving the Production of R. B. Peake’s Presumption; or, The Fate of Frankenstein.” [GGII: 0639].

FORRY, Steven Earl. “The Hideous Progenies of Richard Brinsley Peake: Frankenstein on the Stage, 1823-1826.” [GGII: 06-40].

James Robinson Planché (1796-1880)

HARSE, Katie. “Melodrama Hath Charms: Planché’s Theatrical Domestication of Polidori’s ‘The Vampyre.’” Journal of Dracula Studies 3 (2001): 3-7. On the stage adaptation of Polidori’s The Vampyre.