This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We ...
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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
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PLEASE NOTE, WE DO NOT SHIP TO DENMARK. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. Please note we cannot offer an expedited shipping service from the UK.
Choose your shipping method in Checkout. Costs may vary based on destination.
Seller's Description:
PLEASE NOTE, WE DO NOT SHIP TO DENMARK. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. Please note we cannot offer an expedited shipping service from the UK.
These are two solid volumes with a lot of history of who did what and when. The shortcomings of the books are generally true of ALL theatre histories written in that era (1880-1915): a lack of critical analysis; little or no examination of contemporary work patterns (what it was actually like to put a show together, how long did you rehearse and under what conditions, who organized the rehearsals, who coordinated the transition onto the stage, how technological changes--gaslight, electricity, advances in stage machinery--affected or influenced the work, how did an actor get a job and move from job to job); and, lastly, little attention to the lower echelons of the "amusement" industry, vaudeville, burlesque and popular price melodrama.