The Theatrical Public in the Time of Garrick

Pedicord, Harry William

doi:10.7312/pedi94262

Cited by 101 publications

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“…These scholars Tracy C. Davis typically limited their conclusions to the social makeup of audiences, their behavior at the playhouse, and changes in spectator "tastes" over time. 2 Most audiences stayed at general and normative levels, asking few questions about such issues as contradictory reactions to specific plays or genres or the responses of ethnic and gendered minorities in the theatre.…”

Section: Introductionmentioning

confidence: 99%

Introduction

Davis¹,

McConnachie

1998

Theat Surv

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Despite the etymological origins of “spectator” in looking and “audience” in hearing, the multiple activities involved in attending an event (whether formally in the theatre or in other reminiscent circumstances) involve the senses more than one at a time, and indeed they involve more than the senses. Some of the most compelling spectacles of the modern era, such as homelessness, seem to repel looking and hearing for too many who encounter them on the streets, and only hold the attention of a few when dramatized by Gorky in The Lower Depths.

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Section: Introductionmentioning

confidence: 99%

Introduction

Davis¹,

McConnachie

1998

Theat Surv

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“…2 These statistics alone recommend an examination of this eighteenth-century "hit," if only as a particularly vivid example of the kind of light entertainment David Garrick, manager, used again and again to support (or "prop-up," as Pedicord puts it) the more substantial productions of David Garrick, theatrical artist. 3 But The Padlock is of great interest apart from its popularity.…”

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confidence: 99%

“…6 Shortly thereafter, presumably, the two began work on The Padlock, Dibdin for the first time contributing the complete score to a Bickerstaffe libretto. Thus The Padlock was not only the most popular comic opera by Isaac Bickerstaffe, the man who "established the type" in England, 7 it was the first major score by Charles Dibdin, an enormously successful composer of light music for the rest of the century. It also gave Dibdin the most popular role of his performing career.…”

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David Garrick Presents The Padlock: An 18th-Century “Hit”

Fahrner¹

1972

Theat Surv

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The importance of the afterpiece in David Garrick's managerial scheme is generally acknowledged, though most grant too casually, perhaps, that the “English Roscius” was also a practical and clever theatrical entrepreneur. He understood the popular taste and, even as he attempted to improve that taste, he catered to it for obvious financial reasons. Had a Londoner visited Drury Lane on the night of 3 October 1768, therefore, and dutifully witnessed the “prisons, racks, and death” of The Earl of Warwick, Dr. Thomas Francklin's patriotic exercise in pseudo-istorical, blank verse tragedy, he would have been rewarded with the premiere of The Padlock, a delightful afterpiece by Isaac Bickerstaffe and Charles Dibdin.

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Afterpieces

Ennis¹

2015

The Encyclopedia of British Literature 1660‐1789

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The Theatrical Public in the Time of Garrick

Cited by 101 publications

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Introduction

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David Garrick Presents The Padlock: An 18th-Century “Hit”

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