closet drama

Webster's conception of literary drama that allows audiences to see the play "acted to them only in the theatre of their minds" alludes to but also provides a feminist reworking of the closet drama form conceived of by male Romantic writers such as Byron and Coleridge, who envisioned this genre as a safe retreat from the anti-intellectual stage.

First, consider the aspect of equal opportunities: while those who discount its theatricality lock The Tragedy of Mariam into the 'closet', by contrast critics hail George Buchner's 1837 play Woyzeck, written for a theatre that simply didn't exist in Buchner's lifetime, as revolutionary, not closet drama. But if the work of a revolutionary male playwright deserves loving dramaturgy--and directors have to work hard and inventively to fill in the gaps between the words of Buchner's elliptical, unstable text--then plays of revolutionary female playwrights deserve equally loving dramaturgical remixing and repackaging; they cannot be expected to spring from the page Athene-like ready for battle/staging, speaking unproblematically to audiences across the centuries.

In spite of the views of Medwin and others who have tried to relegate The Cenci to the domain of closet drama, the play is quite suited for the stage, as numerous productions can attest.

Hollenbecks Zion (1886); and two scripts written as closet drama and not intended for the stage, Bayard Taylor's The Prophet (1878) and Herman Isidore Stern's Evelyn Gray, or, History of Our Western Turks (1890).

The tests to which the policing Carwin subjects Clara give decidedly new meaning to the term "closet drama" and function on a continuum in the novel--other policing male terrorists are busy at work shadowing and "doubling" Carwin, among them Clara's brother and her long-term friend and companion, Henry Pleyel.

Matters become all the more 'inconclusive' as it emerges from Sampson's learned discussion that pastoral is not just one of three neatly distinguishable genres, as textbooks would have us believe, but one of a whole array of competing and overlapping genres-drammi mescidati, tragedy, comedy (erudita, grave, dell' arte,) tragicomedy, melodrama, closet drama, rustic plays, pastoral (and piscatorial) eclogues, epithalamium, etc., not to mention Petrarchan love lyric, epic, and romance-of all of which, at one time or another, the pastoral partakes.

The inclusion of essays on masques and closet drama by Martin Butler and Danielle Clarke respectively also extend the scope of the collection.

This wide-ranging collection by many leaders in the field offers state-of-the-art inquiries into the significance of early modern printed plays, including closet drama and the masque.

CLOSET drama kings and queens are being invited to step into the limelight on Sunday.

The wider circulation of their work has been accompanied by increasing recognition that closet drama is not a poor cousin of publicly staged dramatic entertainment but a genre with its own merits, produced for specific occasions and purposes and with its own set of dramatic conventions.

The play's critics have long argued this is a "closet drama" about secret longings vs.

"Closet drama" is a mean-spirited name for work of this sort.

In Browning's closet drama Pippa Passes (1841), a young girl from the silk mills of Asolo hopes to improve everyone she encounters on her annual holiday.