Table Of ContentTHE GOTHIC NOVEL AND THE STAGE:
ROMANTIC APPROPRIATIONS
Literary Texts and the Popular Marketplace
Series Editors: Kate Macdonald
Ann Rea
Editorial Board: Kristin Bluemel
David Carter
Stella Deen
Christoph Ehland
David Finkelstein
Jaime Harker
Nick Hubble
Elizabeth Maslen
Rebecca N. Mitchell
Victoria Stewart
Titles in this Series
1 Th e Business of the Novel:
Economics, Aesthetics and the Case of Middlemarch
Simon R. Frost
2 Fashioning the Silver Fork Novel
Cheryl A. Wilson
3 Comedy and the Feminine Middlebrow Novel: Elizabeth von Arnim and
Elizabeth Taylor
Erica Brown
4 John Buchan and the Idea of Modernity
Kate Macdonald and Nathan Waddell (eds)
5 Women’s University Fiction, 1880–1945
Anna Bogen
6 William Clark Russell and the Victorian Nautical Novel:
Gender, Genre and the Marketplace
Andrew Nash
7 Modernism, Middlebrow and the Literary Canon: Th e Modern Library
Series, 1917–1955
Lise Jaillant
8 Aestheticism and the Marriage Market in Victorian Popular Fiction: Th e Art
of Female Beauty
Kirby-Jane Hallum
Forthcoming Titles
British Books in France before and aft er the Revolution: Imagining Nations
Ronald Tetreault
www.pickeringchatto.com/ltpm
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THE GOTHIC NOVEL AND THE STAGE:
ROMANTIC APPROPRIATIONS
by
Francesca Saggini
First published 2015 by Pickering & Chatto (Publishers) Limi ted
Published 2016 by Routled ge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
711 Third Avenue, New York, NY 10017, USA
Routledge is an imprint of the Taylor &Francis Group, an informa busin ess
© Taylor & Franc is20 15
© Francesca Saggini 2015
To the best of the Publisher’s knowledge every eff ort has been made to contact
relevant copyright holders and to clear any relevant copyright issues.
Any omissions that come to their attention will be remedied in future editions.
All rights reserved, including those of translation into foreign languages. No part of this book
may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or
other means, now known or hereafter invented, including photocopying and recording, or in
any information storage or retrieval system, without permission in writing from the pub lishers.
Notice :
Product or corporate names may be trademarks or registered trademark s, and
are used only for identification and explanation without intent to in fringe.
british library cataloguing in publication data
Saggini, Francesca, author.
Th e Gothic novel and the stage: romantic appropriations. – (Literary texts and
the popular marketplace)
1. Gothic fi ction (Literary genre) – History and criticism. 2. Drama – 18th
century-Stories, plots, etc. 3. Performing arts and literature – History – 18th
century. 4. Th eater in literature.
I. Title II. Series
809.2'033-dc23
ISBN-13: 978-1-84893-414-6 (hbk)
Typeset by Pickering & Chatto (Publishers) Limited
CONTENTS
Acknowledgements ix
List of Figures and Tables xi
Introduction – Th e Transforming Muses: Th eorizing Stage Appropriation 1
Part I – Th e Gothic Stage
1 A Stage of Tears and Terror: Introducing the Gothic Stage 23
2 Uncloseting the Gothic Monster 31
3 An Overview of Critical Responses to English Gothic Th eatre 37
4 A Chronology of the Gothic Drama 57
5 Th e Gothic Drama: A Survey of Criticism 63
Part II – Performing Stage Appropriation in the Romantic Era: Th e
Languages of the Stage and the Page
6 An Evening at the Th eatre: Performance, Intertheatricality,
Infratheatricality 69
7 A Pathognomic Th eatre: Th e Body of the Actor and Contemporary
Th eories of Acting 87
8 Intersemiotic Translation and Appropriation: An Exploration of
Sound, Scenery, Lighting and Costume in Gothic Dramas and
Novels 97
9 Surface vs Depth: Staging the Signifi ers of the Gothic 137
Part III – Practising the Appropriation of the Gothic Stage: Romantic
Case Studies
10 ‘To Ears of Flesh and Blood’: Ann Radcliff e’s Stage Hauntings 151
11 Change, Transformation, Spectacle: Th e Monk and the Forms of
Georgian Scenic Spectacle 177
12 On the Re-Mediation of Gothic Dramas: Th e Gothic Stage and
the Gothic Trade 199
Aft erword 215
Works Cited 217
Notes 243
Index 295
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ACKNOWLEDGEMENTS
I have used the resources of many institutions for this project. In particular, I
wish to thank the library of the University of Glasgow, the Bodleian Library, the
British Library, the Library of Trinity College Dublin, the Yale Center for Brit-
ish Art, the Victoria and Albert Museum, Archivio Fotografi co Scala (Florence),
ArenaPAL (London) and the Royal College of Music (London). Jovita Callueng
at the British Library, Melissa Fournier and Maria Singer at the Yale Center for
British Art, Helen Gilio at the Bodleian Libraries, Heather Davis of Lancashire
County Council and Geoff Willetts of Fylde Borough Council have graciously
assisted me with the illustrations.
I would also like to acknowledge with particular gratitude the Yale Center for
British Art, Paul Mellon Fund, for kind permission to reproduce the engraving
by Francesco Bartolozzi, aft er Henry Fuseli, Queen Katherine’s Dream – Henry
VIII (Figure 10.1).
A book that takes many years to complete, as this one did, creates an intricate
web of debts of gratitude that I would like to acknowledge here, begging forgiveness
in advance for all possible, unforgivable omissions. At the library of the Diparti-
mento di studi linguistico-letterari, storico-fi losofi ci e giuridici of the Università
della Tuscia (Viterbo, Italy), I would like to thank the director of the Polo Bibli-
otecario Umanistico, Dott. Maria Giovanna Pontesilli and Dott. Clotilde Valeri for
their great generosity and patience in assisting me with my oft en impossibly diffi cult
searches. It is entirely owing to their expert help that I have had the good fortune of
conducting my research in a well-organised, protected environment.
My thanks also go to Laura Kopp, who is able to follow the tortuous mean-
derings of my prose with shrewdness and incomparable common sense.
To Jan McDonald, with whom I share a love of the theatre, and who is the
perfect companion at our innumerable lunches in the West End and evenings in
the Glasgow theatres.
To Nicola Trott, who twenty years ago pointed out the obvious, opening my
eyes to the world of Romantic theatre. I remember her with special fondness and
with all the gratitude of a passionate undergraduate.
To Emma J. Clery, to whose judgement this book owes more (indeed, much
more) than she can ever imagine.
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