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008			250312042016GB eng
020			_a9781351898225
037			_bTaylor & Francis _cGBP 42.99 _fBB
040			_a01
041			_aeng
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100	1		_aMathew R. Martin
245	1	0	_aStaging Pain, 1580–1800 _bViolence and Trauma in British Theater
250			_a1
260			_aOxford _bRoutledge _c20161205
300			_a232 p
520			_bBookending the chronology of this collection are two crucial moments in the histories of pain, trauma, and their staging in British theater: the establishment of secular and professional theater in London in the 1580s, and the growing dissatisfaction with theatrical modes of public punishment alongside the increasing efficacy of staging extravagant spectacles at the end of the eighteenth century. From the often brutal spectacle of late medieval mystery plays to early Romantic re-evaluations of eighteenth-century appropriations of spectacles of pain, the essays take up the significance of these watershed moments in British theater and expand on recent work treating bodies in pain: what and how pain means, how such meaning can be embodied, how such embodiment can be dramatized, and how such dramatizations can be put to use and made meaningful in a variety of contexts. Grouped thematically, the essays interrogate individual plays and important topics in terms of the volume's overriding concerns, among them Tamburlaine and The Maid's Tragedy, revenge tragedy, Joshua Reynolds on public executions, King Lear, Settle's Moroccan plays, spectacles of injury, torture, and suffering, and Joanna Baillie's Plays on the Passions. Collectively, these essays make an important contribution to the increasingly interrelated histories of pain, the body, and the theater.
700	1		_aJames Robert Allard _4B01
999			_c7365 _d7365