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.
In this issue:
Kitty Clive: her birth and marriage dates
Olive Baldwin and Thelma Wilson
Seventeenth-Century English Rope Dancers in the Low Countries
J.P. Vander Motten and Michiel Roscam Abbing
Dukeys, Gaffs and Shop Shows: seeing the Penny Theatre in a different light
Ann Featherstone
Book Reviews
David Garrick and the Mediation of Celebrity by Leslie Ritchie, reviewed by Elaine McGirr
Screening the Royal Shakespeare Company: A Critical History by John Wyver, reviewed by Peter Holland
Women, Performance and the Material of Memory: The Archival Tourist, 1780-1915 by Laura Engel, reviewed by Kate Dorney
***The Theatrical Career of Mary Ann Canning Part 2: May 1777 to December 1788***Strolling with Shakespeare and Friends: New Evidence from the Late Seventeenth Century***Protagonists in Paper: Toy Theatres and the Cultivation of Celebrity***
The Theatrical Career of Mary Ann Canning, Part 1: November 1773 — December 1776 *** The Diary of Benjamin Griffin: A Re-appraisal *** ‘One of the few theatres in England who really care about dramatists’: New Writing at the Victoria Theatre, Stoke-on-Trent
New Light on the Baroness *** Rediscovering Nora Charrington, Actress and Fabian *** Jacob Hall and other Rope Dancers on the Continent, 1678-1682
Fanny Kemble’s Dual Consciousness: Memoir and Performance Theory *** Authoring the Environment: Landscapes, Crowds and Communality in Louis Napoleon Parker’s Edwardian Pageants *** Lady Randolph Churchill’s “Tremendous, Ridiculous, Costly Hats”: A material culture approach to His Borrowed Plumes
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