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Theatre and Novel in Georgian England 1714-1830

Theatre and Novel in Georgian England 1714-1830. Audiences and Readers Judith Hawley Royal Holloway, University of London. I. DETERMINING OBJECTS OF STUDY . Bibliography of references to plays in novels and vice versa Bibliography of authors who wrote both media

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Theatre and Novel in Georgian England 1714-1830

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  1. Theatre and Novel in Georgian England 1714-1830 Audiences and Readers Judith Hawley Royal Holloway, University of London

  2. I. DETERMINING OBJECTS OF STUDY • Bibliography of references to plays in novels and vice versa • Bibliography of authors who wrote both media • Bibliography of novels that were turned into plays and vice versa • Development of play texts to become more ‘novelistic’

  3. Writers as readers of other works • Depictions of readers and audience members in novels and plays – plays tend to stereotype audience members. Does the novel individuate readers more? • Traces of reading / spectatorship in marginalia, diaries, letters • Published reviews, puffs, etc. of both novels and plays in papers and journals • Critiques of the dangers of novel reading/play going

  4. II. METHODOLOGIES • Numerous models available of reader-response theory • Numerous models of audience studies • Participatory vs. passive consumption • Analysis of the correlation between the popularity of plays on the stage and their representation in novels • Analysis of the genres alluded to in novels • Comparative analysis of market forces

  5. III. QUIXOTISM • Anxieties about the failure of readers/audiences to distinguish between art and life • Cross over from consumption to production/participation • Cult of sensibility in both media encouraged audience projection • Acting out of fantasies • Not knowing one’s place • Private theatricals in life and literature • Pic-Nic Club • Mansfield Park, The Wanderer

  6. IV. GENDER • Women were considered to be more susceptible to the corrupting influences of both theatre and novel • Is this really a concern about something else? • Does the ideology of femininity make them more responsive as consumers? • Does the ideology of femininity make them live more performative lives?

  7. ARE THERE DISTINCTIONS WE SHOULD PRESERVE? • The body – the presence of actors – non-verbal communication – and the presence of the audience to the actors • Stage craft • Visual spectacle • The economies of both media • Solitary vs. social media – novel could be ‘performed’ to an audience but theatre is necessarily social and often far from polite

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