The London Stage Project
The London Stage Project is an envelope title for a number of research projects under the direction of Michael Burden, with Jonathan Hicks as co-director.
The London Stage Calendar 1800-1844
Nineteenth-Century British Theatrical Culture
The London Stage in the 19th-century World
The Italian Opera Aria in London 1705-1801
The London Stage Calendar 1800-1844
The London Stage Calendar 1800-1844 is an electronic calendar of performances on the London Stage. Its creation responds to an internationally identified need for a major reference work of performances cross the widest possible range of London theatres. The need – plus its projected effect on and beyond the academic field – can be gauged by the existing London Stage 1660-1800, 11 vols. (Carbondale, 1960-1970). For over 40 years this scholarly work has aided and stimulated research into the drama, staging, management and politics of the 18th-century London theatre. The success of this tool, however, has caused a cut-off point in published scholarship, with many studies ending – as the calendar – does in 1800. The London Stage 1800-1844 will not merely ‘fill a gap’ in the historical record but will respond to changes in research priorities since the old London Stage was conceived by including popular or ‘illegitimate’ performance venues as well as better known ‘west-end’ houses.
The calendar can be accessed here: https://londonstage.bodleian.ox.ac.uk/
Director: Michael Burden
Co-Director: Jonathan Hicks
Advisory board: Michael Burden, Wendy Heller, Jonathan Hicks, Jim Davis, David Taylor
Technical support: Thaddeus Lipinski (web and database designer), Rachel Moore (grant administrator), Jacek Ostrowski (research assistant)
Funding support: John Fell Fund, Eugene Ludwig, through the Ludwig Family Charitable Trust
Nineteenth-Century British Theatrical Culture
This book series publishes original and innovative studies, typically located at the intersection of research in theatre and music, history, science, the visual arts, the press, performance, and politics. Topics range from high cultural relationships between art and theatre to popular forms such as pantomime or melodrama. The series editors encourage a broad approach to theatrical culture, embracing studies of amusements and entertainments such as panoramas, dioramas, and peep shows as well as dance, circus, pleasure gardens, and opera.
Nineteenth-Century British Theatrical Culture, by its very nature, will be both an interdisciplinary and a cross-disciplinary series – a home for ambitious work that puts British theatre on the global stage. It invites and encourages submissions from the western academy and the post-colonial world.
Series Editors: Jim Davis † (Monographs), Michael Burden (Edited Collections), Jonathan Hicks (Shorts, c. 60,000 words)
Advisory Board: Tracy C. Davis (Northwestern University); Bruno Forment, (Orpheus Instituut, Ghent); Michael Gamer (University of Pennsylvania);
Kate Holmes (University of Exeter); Kate Newey (University of Exeter); Daniel O’Quinn (University of Guelph); Patricia Smyth (University of Warwick);
David Taylor (St Hugh’s College, Oxford)
External link
https://boydellandbrewer.com/nineteenth-century-british-theatrical-culture/
The London Stage in the 19th-century World
The London Stage in the 19th-century World is series of biennial conferences held at New College, Oxford. The ‘London Stage’ is interpreted inclusively as possible, and the conference includes such topics as criticism, dance, the staging of the natural environment, theatrical technology, colonial politics, and international influences on London theatre. The meeting provides an opportunity to take stock of the range of research currently being undertaken in the field as well as a chance to consider the place of London in the broader theatrical and political world.
See website: https://www.new.ox.ac.uk/london-stage-and-nineteenth-century-world-conferences
Organisers: Michael Burden, Jonathan Hicks
Paper Selection: Michael Burden (Oxford), Jim Davis † (Warwick), Jonathan Hicks (Aberdeen), Kate Newey (Exeter), David Francis Taylor (Oxford), and Susan Valladres (Durham)
Funding support: John Fell Fund, Eugene Ludwig, through the Ludwig Family Charitable Trust
The Italian Opera Aria in London 1705-1801
The Italian Aria in London project provides a mechanism by which Italian aria texts can be traced through different libretti as they were moved from one opera to another by impresarios, conductors, and singers. It is based on the surviving libretti, both printed and manuscript, for operas in Italian performed in London. The hard copy version of the project is currently planned to appear in three volumes: Volume I: The catalogue of libretti; Volume II: The list of arias; and Volume III: Supplementary tables – Opera criticism – Bibliography – Indices.
https://www.music.ox.ac.uk/italian-opera-aria-london-stage-1705-1801-0
Investigators: Michael Burden (principal investigator), Christopher Chowrimootoo
Funding support: John Fell Fund, Eugene Ludwig, through the Ludwig Family Charitable Trust
Staging History
The Staging History project began in 2013 with the award of an Oxford-Princeton Collaborative Partnership to Michael Burden (Oxford) and Wendy Heller (Princeton). The initial aim of the project was twofold: firstly, to explore the influence of historical events on the writing and staging of drama – musical drama in particular – in the late eighteenth and early nineteenth centuries; secondly, to investigate the interaction (or lack thereof) between the stages of London and New York, investigating the transfer of dramas, themes, and casts across the Atlantic.
Oxford-Princeton Partnership: Michael Burden, Wendy Heller, Jonathan Hicks, Ellen Lockhart with Victoria Ascheim, Micaela Baranello, David Kennerley, James Steichen, David Stuart
Volume contributors: Victoria Ascheim, Michael Burden, Wendy Heller, Jonathan Hicks, David Kennerley, Ellen Lockhart, James Steichen, David Stuart, Susan Valladares
Exhibition curators: Michael Burden, Jonathan Hicks, Susan Valladares
Funding support: John Fell Fund, Eugene Ludwig, through the Ludwig Family Charitable Trust
