000			04108cam a2200421Mi 4500
001			ocn829452684
003			OCoLC
005			20240726105443.0
008			130308s2013 nyuab ob 001 0 eng d
040			_aYDXCP _beng _epn _erda _cYDXCP _dOCLCO _dE7B _dJSTOR _dNT _dP@U _dOCLCF _dCOO _dOCLCQ _dIDEBK _dOCLCQ _dEBLCP _dOCL _dOCLCQ _dAZK _dYDX _dAGLDB _dMOR _dPIFPO _dMERUC _dOCLCQ _dSAV _dOCLCQ _dZCU _dIOG _dOCLCA _dDEGRU _dU3W
020			_a9780801468216 _q((electronic)l(electronic)ctronic)
043			_ae-fr--- _anwla---
050	0	4	_aPN2633 _b.S734 2013
049			_aMAIN
100	1		_aClay, Lauren. _e1
245	1	0	_aStagestruck : _bthe business of theater in eighteenth-century France and its colonies / _cLauren R. Clay.
260			_aIthaca : _bCornell University Press, _c(c)2013.
300			_a1 online resource (xvi, 334 pages) : _billustrations, maps
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
504			_a2
505	0	0	_aInvesting in the arts -- _tDesigning the civic playhouse -- _tThe extent and limits of state intervention -- _tDirectors and the business of performing -- _tThe work of acting -- _tConsumers of culture -- _tThe production of theater in the colonies.
520	0		_aStagestruck traces the making of a vibrant French theater industry between the reign of Louis XIV and the French Revolution. During this era more than eighty provincial and colonial cities celebrated the inauguration of their first public playhouses. These theaters emerged as the most prominent urban cultural institutions in prerevolutionary France, becoming key sites for the articulation and contestation of social, political, and racial relationships. Combining rich description with nuanced analysis based on extensive archival evidence, Lauren R. Clay illuminates the wide-ranging consequences of theater's spectacular growth for performers, spectators, and authorities in cities throughout France as well as in the empire's most important Atlantic colony, Saint-Domingue.Clay argues that outside Paris the expansion of theater came about through local initiative, civic engagement, and entrepreneurial investment, rather than through actions or policies undertaken by the royal government and its agents. Reconstructing the business of theatrical production, she brings to light the efforts of a wide array of investors, entrepreneurs, directors, and actors-including women and people of color-who seized the opportunities offered by commercial theater to become important agents of cultural change.Portraying a vital and increasingly consumer-oriented public sphere beyond the capital, Stagestruck overturns the long-held notion that cultural change flowed from Paris and the royal court to the provinces and colonies. This deeply researched book will appeal to historians of Europe and the Atlantic world, particularly those interested in the social and political impact of the consumer revolution and the forging of national and imperial cultural networks. In addition to theater and literary scholars, it will attract the attention of historians and sociologists who study business, labor history, and the emergence of the modern French state.
530			_a2 _ub
650		0	_aTheater and society _zFrance _xHistory _y18th century.
650		0	_aTheater and society _zWest Indies, French _xHistory _y18th century.
650		0	_aTheater _xEconomic aspects _zFrance _xHistory _y18th century.
650		0	_aTheater _xEconomic aspects _zWest Indies, French _xHistory _y18th century.
650		0	_aTheater management _zFrance _xHistory _y18th century.
650		0	_aTheater management _zWest Indies, French _xHistory _y18th century.
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=671385&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hPN _m2013 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c100839 _d100839
902			_a1 _bCynthia Snell _c1 _dCynthia Snell