A journal of the history and technique of the British theatre.
Exploring a wide interpretation of theatrical activities, covering buildings, performers, techniques, theory and practice connected with British and British-related theatre.
Theatre Notebook is a journal of the history and technique of the British theatre. It interprets theatre widely, covering theatrical activities inside and outside theatre buildings, professional and amateur theatre, the business of theatre, stage design, the history of theatre buildings, acting technique, and theatre outside the British Isles that relates directly to the history and technique of British theatre.
The Editors of Theatre Notebook welcome offers of contributions that record, analyse, reinterpret and celebrate the achievements of British theatre practitioners from any period, including the very recent past. Essays that focus purely on dramatic literature are not considered.
The Editors recognise the crucial importance of a scholarly approach to facts and interpretation but have no theoretical preferences, recognising the importance of representing a wide spectrum of contemporary positions.
All enquiries and offers of contributions should be addressed to the editor, Trevor Griffiths
Theatre Notebook is published by the STR three times a year.
Fanny Kemble’s Dual Consciousness: Memoir and Performance Theory
Catherine Quirk
Authoring the Environment: Landscapes, Crowds and Communality in Louis Napoleon Parker’s Edwardian Pageants
Shilarma Stokes
Lady Randolph Churchill’s “Tremendous, Ridiculous, Costly Hats”: A material culture approach to His Borrowed Plumes
Holly Dayton
Book Reviews
Giovanna Sestini: An Italian Opera Singer in Eighteenth Century London
Audrey T. Carpenter
Shakespeare, Race and Performance: The Diverse Bard
Delia Jarrett-Macauley (ed.)
The West End Theatre Comes to Hampshire: Richard Norton (1667-1732) of Southwick Park, Landowner and Man of the Theatre *** Theatre, Celebrity, and Contagion: David Garrick’s 1742 Dublin Visit and James R. Planché’s Garrick Fever *** Touchstone: A Forgotten Theatrical Newspaper.
Edward Ecclestone’s ‘The Cataclysm: New Engravings of Restoration Stage Scenery? *** Rich’s Register: The Chatsworth Volume *** From Vocalist to “Inventor of the Dresses”: Vincenzo Sestini’s career at the King’s Theatre in the Haymarket’ *** Darkening the auditorium in the Nineteenth Century British Theatre.
Mucedorus: From Revision to Nostalgia –§– Trade, Taverns, and Touring Players in Seventeenth-Century Bristol –§– Zoffany Paintings of Garrick at the Bowes Museum –§– Succeeding the Siddons: Eliza O’Neill and the Triumph of the Romantic Style –§– Early Modern Staging of Throne Scenes.
Were Property Booths Used in the First Performance of Jonson’s Bartholomew Fair? –§– Antonio Brunati, King’s Company Scenekeeper (1664-65) –§– Frederick Balsir Chatterton and the Critics –§– The Adelphi Theatre Calendar.
Members of the Society for Theatre Research receive Theatre Notebook as a matter of course, along with the Annual Publication, discounts on STR books, and the facility to publicise their own interests, research, and queries.
If you or your organisation require a subscription to Theatre Notebook without membership of the Society, please email the Treasurer directly.
Back Issues can be bought separately. Browse the Back Issue index and order from there.
Theatre Notebook is published by the STR three times a year. As a journal of the history and technique of the British theatre, we are prepared to consider work on a wide variety of topics concerned with theatre history and practice, but we do not publish essays that are mainly or solely concerned with dramatic literature or literary criticism of play texts.
We do not prescribe maximum or minimum lengths for essays and we welcome essays at any time of the year. We aim to respond to authors within a month, but at particularly busy times that may not always be possible.
Please note, articles should be formatted in accordance with Modern Language Association of America (MLA) style. British spelling should be used and the first names of all persons referred to should be given when they are first mentioned.
Essays will be considered anonymously so they should not contain any identification within the article itself, although we will need a short biographical note about the author when an article is accepted for publication. Authors should confirm that they have obtained and met the cost of any relevant permissions.
All enquiries about contributions are welcome, and should be directed to
theatrenotebook@str.org.uk
or write to
Trevor Griffiths
Theatre Notebook
4 Warner Road
LONDON N8 7HD