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Harlequin Empire
Under the 1737 Licensing Act, Covent Garden, Dury Lane and regional Theatres Royal held a monopoly on the dramatic canon. This work explores the presentation of foreign cultures and ethnicities on the popular British stage from 1750 to 1840. It argues that this illegitimate stage was the site for a plebeian Enlightenment.
Sonification Design
The contemporary design practice known as data sonification allows us to experience information in data by listening. In doing so, we understand the source of the data in ways that support, and in some cases surpass, our ability to do so visually. In order to assist us in negotiating our environments, our senses have evolved differently. Our hearing affords us unparalleled temporal and locational precision. Biological survival has determined that the ears lead the eyes. For all moving creatures, in situations where sight is obscured, spatial auditory clarity plays a vital survival role in determining both from where the predator is approaching or to where the prey has escaped. So, when desig...
The Most Famous Car in the World
Typescript draft, "with errors", by David Worrall as indicated by manuscript note on cover. Forward by Desmond Llewelyn ('Q'). Written to highlight the workers who designed and developed the iconic DB5.
Celebrity, Performance, Reception
By 1800 London had as many theatre seats for sale as the city's population. This was the start of the capital's rise as a centre for performing arts. Bringing to life a period of extraordinary theatrical vitality, David Worrall re-examines the beginnings of celebrity culture amidst a monopolistic commercial theatrical marketplace. The book presents an innovative transposition of social assemblage theory into performance history. It argues that the cultural meaning of drama changes with every change in the performance location. This theoretical model is applied to a wide range of archival materials including censors' manuscripts, theatre ledger books, performance schedules, unfamiliar play texts and rare printed sources. By examining prompters' records, box office receipts and benefit night takings, the study questions the status of David Garrick, Sarah Siddons and Edmund Kean, and recovers the neglected actress, Elizabeth Younge, and her importance to Edmund Burke.
Theatric Revolution
This book uncovers the role of stage censorship during the Romantic period, an era otherwise associated with freedom of expression. Theatric Revolution examines this censorship and those who struggled against it.
Radical Culture: Discourse, Resistance and Surveillance, 1790-1820
England was a spy culture in the years 1790 through 1820. Restriction, regulation and surveillance formed the dominant discursive context. Ultra-radical artisans developed a discourse based on the revolutionary ideology of Thomas Spence which proposed the corporate ownership of land and the overthrow of the Government by physical force. The Spenceans were considered the most radical of the political groups active during this period, with William Blake, Jeremy Bentham, and Percy Shelley the best known of those spied upon for suspected Speancean activities. This book outlines the battle between repressive seditious laws and the radicals whose weapon was the written and spoken word. David Worra...
Celebrity, Performance, Reception
Worrall presents an innovative transposition of social assemblage theory into eighteenth-century British theatre and performance history.
The Politics of Romantic Theatricality, 1787-1832
This book sets out the political and cultural conditions regulating dramatic writing during an era of censorship and monopolistic royal theatres. Using a range of plays and manuscripts, it argues for the centrality of burletta, the theatrical locus of the attacks on the Cockney school of poetry and the vitality of the metropolitan dramatic scene.
Print Politics
Literary study of the popular radical press in England, 1800-1830.
William Blake's Religious Vision
In this innovative study, Jesse challenges the prevailing view of Blake as an antinomian and describes him as a theological moderate who defended an evangelical faith akin to the Methodism of John Wesley. She arrives at this conclusion by contextualizing Blake's works not only within Methodism, but in relation to other religious groups he addressed in his art, including the Established Church, deism, and radical religions. Further, she analyzes his works by sorting out the theological "road signs" he directed to each audience. This approach reveals Blake engaging each faction through its most prized beliefs, manipulating its own doctrines through visual and verbal guide-posts designed to com...
