The Romantic Stage

A Many-Sided Mirror


The Romantic Stage: A Many-Sided Mirror examines late eighteenth- and early nineteenth-century British theatre and drama with the conviction that they made an essential contribution to the aesthetic and ideological complexity of the British culture of the day. The essays collected in this volume seek to capture the richness and diversity of British Romantic theatre and drama and situate them at the centre of the multiple, and often radical, literary and social transformations that the Age brought about. The volume is divided into four main sections: “Contextualizing Romantic Theatre and Drama”, “Drama across the Arts”, “Staging the Gothic (Fear on Stage)” and “Texts, Theories and Contexts”. Each section is dedicated to a particular aspect of English Romantic drama examined through interdisciplinary, international and inter-generic perspectives.
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Review Quotes

“The popularity of nineteenth-century theatre makes the lack of scholarly attention it has received until recently all the more surprising. Students of theatrical literature traditionally encounter a gap between Restoration and eighteenth-century plays […] Scholars wishing to explore this enormous—and enormously understudied—area of research will find these two books very useful places to start.”
- Arnold Anthony Schmidt, California State University Stanislaus in European Romantic Review, (2017) Vol. 28.1 pp. 130-137

Table of contents

List of Illustrations
Lilla Maria Crisafulli and Fabio Liberto: The Romantic Stage: Holding the Mirror up to Nature and Culture
Jeffrey N. Cox: Editing Romantic Drama: Problems of Value, Volume, and Venue

Part One: Contextualizing Romantic Theatre and Drama
Nicoletta Caputo: Theatrical Periodicals and the Ethics of Theatre in the Romantic Age
Michael Gamer: Romantic Drama and the Popular Theatre
Carlotta Farese: The Strange Case of Herr von K: Further Reflections on the Reception of Kotzebue’s Theatre in Britain

Part Two: Drama Across the Arts
Fabio Liberto: Shakespeare’s Visual Memorability During Romanticism
Claudia Corti: Poses and Pauses: The Theatrical Portrait in English Romanticism
Lilla Maria Crisafulli: “A Language in Itself Music”: Salvatore Viganò’s Ballet en Action in Shelley’s Prometheus Unbound

Part Three: Staging the Gothic (Fear on Stage)
Diego Saglia: Staging Gothic Flesh: Material and Spectral Bodies in Romantic-Period Theatre
Giovanna Silvani: Matthew G. Lewis’ Theatre: Fear on Stage
Frederick Burwick: Vampires in Kilts

Part Four: Texts, Theories and Contexts
Franca Dellarosa: Dramatic Discourse and the Romantic Stance in Joanna Baillie’s Theatre
Rosy Colombo: Closet Drama on the Stage of Revolution: Language on Trial in Wordsworth’s The Borderers
Carla Pomarè: Sardanapalus, or, Romantic Drama between History and Archaeology
Valeria Pellis: The Sensory and the Ideal: S.T. Coleridge’s Aesthetics in Romantic Theatrical Discourse

Notes on Contributors


Collection Information