David Garrick: Difference between revisions
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He began as an actor. He later worked as a playwright and theatre owner.<ref name=EngGerm1981-10/><ref name=Sewanee1981/><ref name=Durham1000/> | He began as an actor. He later worked as a playwright and theatre owner.<ref name=EngGerm1981-10/><ref name=Sewanee1981/><ref name=Durham1000/> | ||
Garrick is said to have played a key role in changing how actors played their roles in the British theatre.<ref name=EngGerm1981-10/><ref name=Sewanee1981/><ref name=Durham1000/> He played a role in plays, written by other playwrights, that appeared in his theatre, with scholars claiming he influenced over 60 plays. | Garrick is said to have played a key role in changing how actors played their roles in the British theatre.<ref name=EngGerm1981-10/><ref name=Sewanee1981/><ref name=Durham1000/> He played a role in plays, written by other playwrights, that appeared in his theatre, with scholars claiming he influenced over 60 plays. Many of the 22 works explicitly credited to Garrick are merely translations of French plays. | ||
==References== | ==References== | ||
Revision as of 22:48, 13 June 2022
David Garrick was an influential figure in the 18th century British theatre.[1][2][3]
He began as an actor. He later worked as a playwright and theatre owner.[1][2][3]
Garrick is said to have played a key role in changing how actors played their roles in the British theatre.[1][2][3] He played a role in plays, written by other playwrights, that appeared in his theatre, with scholars claiming he influenced over 60 plays. Many of the 22 works explicitly credited to Garrick are merely translations of French plays.
References
- ↑ 1.0 1.1 1.2 Robert D. Hume. The Plays of David Garrick by David Garrick, Harry William Pedicord, Fredrick Louis Bergmann, The Journal of English and Germanic Philology, October, 1981, pp. 578-581. Retrieved on 2022-06-12.
- ↑ 2.0 2.1 2.2 Gerald Weales. Review: There's No Business like Show Business, The Sewanee Review, Summer, 1981, pp. 448-453. Retrieved on 2022-06-12.
- ↑ 3.0 3.1 3.2 Gillian Skinner (2015). “Stage-plays ... and a thousand other amusements now in use”: Garrick’s response to antitheatrical discourse in the mid-eighteenth century 63-82. Restoration and eighteenth-century theatre research. Retrieved on 2022-06-12. “Bon Ton’s subtitle overtly connects the two-act comedy with an earlier afterpiece, James Townley’s High Life Below Stairs (1759).”