- List of Figures
- Abbreviations and Conventions
- List of Contributors
- Enlightenment, Exclusion, and the Publics of the Georgian Theatre
- Theorizing Audience and Spectatorial Agency
- Theorizing the Performative Event
- Theatre Managers and the Managing of Theatre History
- The 1737 Licensing Act and Its Impact
- The Political Context of the 1737 Licensing Act
- The Dialectics of Print and Performance after 1737
- The 1832 Select Committee
- Looking Towards 1843 and the End of the Monopoly
- Georgian Theories of the Actor
- Theatrical Celebrity and the Commodification of the Actor
- Shakespeare in the Georgian Theatre
- Performing Variety, Packaging Difference
- Interrogating Legitimacy in Britain and America
- Painting the Scene
- Manufacturing Spectacle
- Orchestra and Theatre Music
- Dance and the Georgian Theatre
- Restoring a Georgian Playhouse
- Genealogies of Comedy
- The Challenge of Tragedy
- Pantomimic Politics
- The Gothic Drama: Tragedy or Comedy?
- The Writing and Staging of Georgian Romantic Opera
- The Stages of Closet Drama
- The Formation of Melodrama
- The Case of Byron’s <i>Marino Faliero</i>
- Shelley, Viganò, and Coreodramma
- William Godwin and the Politics of Playgoing
- Jane Austen’s Stage
- Theorizing the Woman Performer
- Women Theatre Managers
- Women Playwrights
- Retrieving Elizabeth Inchbald
- Empire, Sentiment, and Theatre
- Theatre, Islam and the Question of Monarchy
- The Georgian Theatre in Colonial America
- Staging Atlantic Slavery
- Colman’s Inkle and Yarico: Four Critical Perspectives
- Historic Williamsburg: Theatre, Memory, and Colonial Slavery
Abstract and Keywords
In this chapter four scholars offer different critical perspectives on George Colman the Younger’s comic opera Inkle and Yarico (1787)—a play long discussed in terms of its attitude towards slavery and relationship to the abolition movement. Frank Felsenstein considers the broader history of the Inke and Yarico story, and points to the enduring popularity of the play; Jean I. Marsden looks at cuts made to the play’s dialogue to sentimentalize the character of Inkle and so to make less visible the connection between England and slavery; Mita Choudhury argues that the comic opera is very much pro-mercantilist and discusses Colman’s disinterest in issues of race and slavery; and, finally, Nandini Bhattacharya explores the way in which the play juxtaposes commerce, collecting, and connoisseurship as significant eighteenth-century pursuits, with traffic in non-white women.
Frank Felsenstein is the Reed D. Voran Honors Distinguished Professor of Humanities at Ball State University, Indiana. His publications on Inkle and Yarico include English Trader, Indian Maid: Representing Gender, Race, and Slavery in the New World (1999), and John Thelwall: Two Plays (2006). His most recent book is an edition of Tobias Smollett's Travels through France and Italy (2011).
Jean I. Marsden is Professor of English at the University of Connecticut, where she teaches eighteenth-century literature and drama. She is the author of Fatal Desire: Women, Sexuality, and the English Stage, 1660-1720 (2006), The Re-Imagined Text: Shakespeare, Adaptation, and Eighteenth-Century Literary Theory (1995), and, as editor, The Appropriation of Shakespeare: Post-Renaissance Reconstructions of the Works and the Myth (1991).
Mita Choudhury teaches eighteenth-century British literature and culture in the Department of English and Philosophy at Purdue University Calumet. She is author of Interculturalism and Resistance in the London Theatre, 1660-1800: Identity, Performance, Empire (2000) and co-editor of Monstrous Dreams of Reason: Body, Self, and Other in the Enlightenment (2002). Currently, she is working on a book entitled Nation-space in Britain, 1660-1800.
Nandini Bhattacharya is Professor of English at Texas A&M University, where she is an affiliate of the Womens Studies, Africana Studies and Film Studies programmes. She has taught and published on feminism and visual culture, colonial and postcolonial analyses of eighteenth-century literature, and gender in South Asia. Her most recent book is Slavery, Colonialism, and Connoisseurship: Gender and Eighteenth-Century Literary Transnationalism (2006).
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