• Complain

Lauren R. Clay - Stagestruck: The Business of Theater in Eighteenth-Century France and Its Colonies

Here you can read online Lauren R. Clay - Stagestruck: The Business of Theater in Eighteenth-Century France and Its Colonies full text of the book (entire story) in english for free. Download pdf and epub, get meaning, cover and reviews about this ebook. year: 2013, publisher: Cornell University Press, genre: Romance novel. Description of the work, (preface) as well as reviews are available. Best literature library LitArk.com created for fans of good reading and offers a wide selection of genres:

Romance novel Science fiction Adventure Detective Science History Home and family Prose Art Politics Computer Non-fiction Religion Business Children Humor

Choose a favorite category and find really read worthwhile books. Enjoy immersion in the world of imagination, feel the emotions of the characters or learn something new for yourself, make an fascinating discovery.

Lauren R. Clay Stagestruck: The Business of Theater in Eighteenth-Century France and Its Colonies
  • Book:
    Stagestruck: The Business of Theater in Eighteenth-Century France and Its Colonies
  • Author:
  • Publisher:
    Cornell University Press
  • Genre:
  • Year:
    2013
  • Rating:
    3 / 5
  • Favourites:
    Add to favourites
  • Your mark:
    • 60
    • 1
    • 2
    • 3
    • 4
    • 5

Stagestruck: The Business of Theater in Eighteenth-Century France and Its Colonies: summary, description and annotation

We offer to read an annotation, description, summary or preface (depends on what the author of the book "Stagestruck: The Business of Theater in Eighteenth-Century France and Its Colonies" wrote himself). If you haven't found the necessary information about the book — write in the comments, we will try to find it.

Stagestruck traces the making of a vibrant French theater industry between the reign of Louis XIV and the French Revolution. During this era more than eighty provincial and colonial cities celebrated the inauguration of their first public playhouses. These theaters emerged as the most prominent urban cultural institutions in prerevolutionary France, becoming key sites for the articulation and contestation of social, political, and racial relationships. Combining rich description with nuanced analysis based on extensive archival evidence, Lauren R. Clay illuminates the wide-ranging consequences of theaters spectacular growth for performers, spectators, and authorities in cities throughout France as well as in the empires most important Atlantic colony, Saint-Domingue.Clay argues that outside Paris the expansion of theater came about through local initiative, civic engagement, and entrepreneurial investment, rather than through actions or policies undertaken by the royal government and its agents. Reconstructing the business of theatrical production, she brings to light the efforts of a wide array of investors, entrepreneurs, directors, and actorsincluding women and people of colorwho seized the opportunities offered by commercial theater to become important agents of cultural change.Portraying a vital and increasingly consumer-oriented public sphere beyond the capital, Stagestruck overturns the long-held notion that cultural change flowed from Paris and the royal court to the provinces and colonies. This deeply researched book will appeal to historians of Europe and the Atlantic world, particularly those interested in the social and political impact of the consumer revolution and the forging of national and imperial cultural networks. In addition to theater and literary scholars, it will attract the attention of historians and sociologists who study business, labor history, and the emergence of the modern French state.

Lauren R. Clay: author's other books


Who wrote Stagestruck: The Business of Theater in Eighteenth-Century France and Its Colonies? Find out the surname, the name of the author of the book and a list of all author's works by series.

Stagestruck: The Business of Theater in Eighteenth-Century France and Its Colonies — read online for free the complete book (whole text) full work

Below is the text of the book, divided by pages. System saving the place of the last page read, allows you to conveniently read the book "Stagestruck: The Business of Theater in Eighteenth-Century France and Its Colonies" online for free, without having to search again every time where you left off. Put a bookmark, and you can go to the page where you finished reading at any time.

Light

Font size:

Reset

Interval:

Bookmark:

Make
STAGESTRUCK
The Business of Theater in Eighteenth-Century France and Its Colonies
LAUREN R. CLAY
CORNELL UNIVERSITY PRESS
Ithaca and London
For my grandmothers
The first noticeable effect of this establishment [a public theater] will bea revolution in our practices which will necessarily produce one in our mores.
Jean-Jacques Rousseau, Letter to M. dAlembert on the Theatre , 1758
The Englishman shows himself in all his glory at Parliament and at the stock exchange, the German in his scholars study, and the Frenchman at the theater.
Nicola Karamzine, Lettres dun voyageur russe , 1792
CONTENTS
ILLUSTRATIONS
ACKNOWLEDGMENTS
This book has been many years in the making. It is with great pleasure that I can now express my gratitude to those who have supported and encouraged me along the way. My initial research was funded by the Mellon Foundation, the Fulbright Program, and the University of Pennsylvania. At Texas A&M University, the Melbern G. Glasscock Center for Humanities Research, the College of Liberal Arts, and the History Department provided research funding and leave that enabled me to ask new questions and take the manuscript in new directions. With a summer stipend from the National Endowment for the Humanities, I was able to visit additional archives in France. The Center for Renaissance and Baroque Studies at the University of Maryland welcomed me as a visiting scholar. An NEH Fellowship and Vanderbilt University supported a crucial year of writing. Vanderbilt also provided a subvention to underwrite this books publication. I thank all of these institutions for their generosity.
In France, knowledgeable and efficient archivists and librarians in Bordeaux, Chlons-en-Champagne, Le Mans, Lyon, Nantes, Paris, Reims, Rouen, Saumur, Strasbourg, Toulouse, Valenciennes, and Vincennes helped me to navigate their collections, responded to queries, and facilitated the reproduction of images. I am especially grateful to the Bibliothque-Muse de la Comdie-Franaise for allowing me to use their collections and to Jacqueline Razgonnikoff, who during my very first weeks of research in France located invaluable sources and helped me to decode the handwritten letters of eighteenth-century actors, while sharing her enthusiasm for my project. In the United States, the librarians at the New York Public Library, the Newberry Library, and the libraries of Harvard University and the University of Pennsylvania proved to be tremendously helpful. I also thank the indefatigable interlibrary loan departments at both Texas A&M and Vanderbilt, who did a heroic job responding to my countless requests.
I had the great good fortune to begin studying the French theater industry at the University of Pennsylvania with Lynn Hunt as my adviser. As valuable to me as Lynns critical insight and astute advice has been her constant faith that this project would, in fact, make a book. Over the years she has continued to give generously of her time, reading chapters of this manuscript with care, for which I offer my thanks. At Penn, Lynn Lees and Alan Kors challenged me to think about culture, commerce, empire, and urban life during the age of Enlightenment in new ways. Joan DeJean and the French Cultural Studies seminar provided inspiration for interdisciplinary inquiry, and allowed me to present my early findings on the eighteenth-century stage. Friends and colleagues including Ellen Amster and Catherine Bogosian Ash helped to make my Philadelphia years intellectually exciting as well as fun. I am also grateful to professors Suzanne Marchand and Theodore Rabb, who first opened the doors of the Bibliothque nationale for me.
In France, colleagues including J. P. Daughton, Richard Keller, Katherine Kuenzli, and Lara Moore helped me to get this book off the ground in conversations that were most often conducted over good wine and delicious meals. Roger Chartier graciously allowed me to attend his seminar, and Martine de Rougemont offered her expert advice. Luc Poirier extended his friendship and hospitality. In Cambridge, Massachusetts, Alexis Albion and Brian DeLay reached across disciplinary boundaries to read my work, as did Laurel Thatcher Ulrich.
At Texas A&M University, my colleagues in the History Department made College Station a warm and intellectually engaging environment in which to begin writing this book. Walter Buenger was supportive and accommodating. My appreciation goes to Cyndy Bouton, Chester Dunning, Rebecca Hartkopf Schloss, Troy Bickham, Jim Rosenheim, Lora Wildenthal, Daniel Bornstein, and the members of the Junior Faculty Reading Group for reading my work and offering valuable suggestions. Christian Brannstrom helped me to create preliminary maps.
In Nashville, I was welcomed into another collegial and intellectually vibrant academic community. At Vanderbilt University, my department chairs, Liz Lunbeck and Jim Epstein, and Dean Carolyn Dever have supported my research with enthusiasm. I offer my thanks to Catherine Molineux, Eddie Wright-Rios, Holly Tucker, Jane Landers, Gary Gerstle, Joel Harrington, Celso Castilho, Marshall Eakin, Ole Molvig, Colin Dayan, and Jrme Brillaud for their advice and recommendations, as well as for their encouragement and camaraderie. Sarah Igo has been a scholarly inspiration as well as a supportive friend. Bill Caferro not only read parts of the manuscript, he also provided countless morale boosts. At a crucial moment, Katie Crawford helped me to remap the books organization. Matt Ramsey read the entire manuscript. Rachel Early, Thomas Liwinski, Beatrix Brockman, and Cecilia Bilyk assisted me with research.
Over the years, I presented aspects of this research at meetings of the Society for French Historical Studies, the Western Society for French History, the American Society for Eighteenth-Century Studies, the Social Science History Association, and the French Colonial Historical Society, as well as at the conference Diversit et modernit du thtre du XVIIIe sicle. I also presented chapter drafts to the Baltimore-Washington Old Regime Group and to the works-in-progress seminar organized by the Center for Renaissance and Baroque Studies. The participants in these forums, as well as those in colloquia and working groups at Penn, Harvard, Texas A&M, and Vanderbilt, provided me with valuable feedback that has helped me to refine my arguments. I especially thank John Shovlin, David Bell, Greg Brown, Bill Weber, Jeremy Popkin, Sue Peabody, Paul Cohen, Clare Crowston, Sharon Kettering, Gay Gullickson, Cyril Triolaire, Philippe Bourdin, Denise Davidson, Gene Ogle, and Nina Kushner for their suggestions, insights, and encouragement. A special thanks goes to Bernard Camier, who shared results from his own research and even mailed me copies of archival documents that he thought might be valuable for my research. (They were.) When called upon, Jen Popiel and Jen Sessions applied their critical abilities to improving chapters, lent a sympathetic ear, and rallied my spirits. I am especially grateful to Jeff Ravel, who read the manuscript twice, offering expert advice and helping me to sharpen its arguments. He is a valued mentor. The anonymous readers for Cornell University Press also deserve recognition. Their detailed reports challenged me to undertake important changes that, I believe, have made this a better book.
At Cornell, John Ackermans early enthusiasm for the project helped to carry me through the lengthy revision process. Going above and beyond the call of duty, John even applied his extraordinary talents as an editor to the books introduction. I thank my manuscript editor, Susan Specter, for skillfully guiding my manuscript through to publication. My copyeditor, John Raymond, did terrific work on the manuscript. Dave Prout compiled the index.
Next page
Light

Font size:

Reset

Interval:

Bookmark:

Make

Similar books «Stagestruck: The Business of Theater in Eighteenth-Century France and Its Colonies»

Look at similar books to Stagestruck: The Business of Theater in Eighteenth-Century France and Its Colonies. We have selected literature similar in name and meaning in the hope of providing readers with more options to find new, interesting, not yet read works.


Reviews about «Stagestruck: The Business of Theater in Eighteenth-Century France and Its Colonies»

Discussion, reviews of the book Stagestruck: The Business of Theater in Eighteenth-Century France and Its Colonies and just readers' own opinions. Leave your comments, write what you think about the work, its meaning or the main characters. Specify what exactly you liked and what you didn't like, and why you think so.