Název: Clapping to a criminal : the Jack Sheppard craze of the 1720s
Zdrojový dokument: Theory and Practice in English Studies. 2021, roč. 10, č. 1, s. 63-77
Rozsah
63-77
-
ISSN1805-0859
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/143986
Type: Článek
Jazyk
Licence: CC BY-NC-ND 4.0 International
Upozornění: Tyto citace jsou generovány automaticky. Nemusí být zcela správně podle citačních pravidel.
Abstrakt(y)
Jack Sheppard, a real historical figure executed in 1724 London, became the focus of many biographical publications and theatrical pieces immediately after his demise. This article examines the earliest literary works featuring Sheppard and the way the character of a criminal entered London's stages. By analyzing the digression from the facts of Sheppard's life, the tendencies of the popular theatrical genres of the 1720s emerge. Based on two works of art, Thurmond's Harlequin Sheppard (1724) and Walker's Quaker's Opera (1728), one can trace the development of the theatre devices as well as the marketing strategies dramatic authors used to lure the audience into theatres. Both examined pieces were not particularly successful but Thurmond's pantomime significantly inspired John Gay to write Beggar's Opera, basing the character of Macheath on Sheppard. Walker then combined the two phenomena – taking the strategies of new ballad operas, he repurposed the story of Jack Sheppard and adapted it into Quaker's Opera.
Note
This article was supported by the Czech Science Foundation project GA19–07494S, "English Theatre Culture 1660–1737"
Reference
[1] Authentic Memoirs of the Life and Surprising Adventures of John Sheppard: Who was Executed at TYBURN, November the 16th, 1724. By way of FAMILIAR LETTERS from a Gentleman in Town, to his Friend and Correspondent in the Country. London: printed for Joseph Marshall and J. Roberts, 1724.
[2] Defoe, Daniel. 1724a. The History of the Remarkable Life of John Sheppard Containing a Particular Account of his Many Robberies and Escapes. London: printed for John Applebee.
[3] Defoe, Daniel. 1724b. A Narrative of all the Robberies, Escapes, &c. of John Sheppard, giving an exact Description of all his Robberies and Escapes, together with the wonderful Manner of his Escape from the Castle in Newgate, and of the Methods he took afterward for his Security. London: printed for John Applebee, J. Isted and the Booksellers of London and Westminster.
[4] Fiske, Roger. 1973. English Theatre Music in the Eighteenth Century. London: Oxford University Press.
[5] Gay, John. 2010. The Beggar's Opera, edited by Vivien Jones and David Lindley. London: Methuen Drama.
[6] Gonzales, Daniel. 2002. "The Culture of Crime: Representations of the Criminal in Eighteen-century England." PhD diss., Louisiana State University. https://digitalcommons.lsu.edu/gradschool_dissertations/112.
[7] Kidson, Frank. 1922. The Beggar's Opera. Its Predecessors and Successors. Cambridge: Cambridge University Press.
[8] The London Stage Database, 1660–1800. Eighteenth Century Drama. Accessed May 12, 2021. https://www.eighteenthcenturydrama.amdigital.co.uk/LondonStage/Database.
[9] Moore, Lucy. 2014. The Thieves' Opera. The Remarkable Lives and Deaths of Jonathan Wild, Thief-Taker and Jack Sheppard, House-Breaker. London: Endeavour Press.
[10] Mowry, Melissa. 2005. "Thieves, Bawds, and Counterrevolutionary Fantasies: The Life and Death of Mrs. Mary Frith." Journal for Early Modern Cultural Studies 5, no. 1: 26–48. | DOI 10.1353/jem.2005.0008
[11] Norton, Rictor, ed. 2003. "Jack Sheppard, Jail-Breaker." In Early EighteenthCentury Newspaper Reports. Accessed May 12, 2021. http://grubstreet.rictornorton.co.uk/sheppard.htm.
[12] O'Brien, John. 2004. Harlequin Britain: Pantomime and Entertainment, 1690–1760. Baltimore: John Hopkins University Press.
[13] O'Keefe, Douglas Franklin. 2007. "Ballad Opera, Imitation, and the Formation of Genre." PhD diss., Northwestern University. https://doi.org/10.21985/N26F0V. | DOI 10.21985/N26F0V
[14] Otway, Thomas. 1682. Venice Preserv'd or A Plot Discover'd. London: printed for Jos. Hindmarsh.
[15] Picard, Liza. 2004. Restoration London. Everyday Life in London 1660–1670. London: Phoenix.
[16] Pollmann, Judith. 2017. Memory in Early Modern Europe 1500–1800. Oxford: Oxford University Press.
[17] Semmens, Richard. 2016. Studies in the English Pantomime, 1712–1733. Hillsdale: Pendragon Press.
[18] Thurmond, John. 1724. Harlequin Sheppard. A Night Scene in Grotesque Characters. London: printed for J. Roberts and A. Dodd.
[19] Walker, Thomas. 1728. The Quaker's Opera. London: printed for J.W., and sold by J. Roberts, A. Dodd, and E. Nutt and E. Smith.
[20] Winton, Calhoun. 1993. John Gay and the London Theatre. Lexington: University Press of Kentucky.
[21] Wynne-Davies, Marion. 2009. "Orange-Women, Female Spectators, and Roaring Girls: Women and Theater in Early Modern England." Medieval & Renaissance Drama in England 22: 19–26.
[2] Defoe, Daniel. 1724a. The History of the Remarkable Life of John Sheppard Containing a Particular Account of his Many Robberies and Escapes. London: printed for John Applebee.
[3] Defoe, Daniel. 1724b. A Narrative of all the Robberies, Escapes, &c. of John Sheppard, giving an exact Description of all his Robberies and Escapes, together with the wonderful Manner of his Escape from the Castle in Newgate, and of the Methods he took afterward for his Security. London: printed for John Applebee, J. Isted and the Booksellers of London and Westminster.
[4] Fiske, Roger. 1973. English Theatre Music in the Eighteenth Century. London: Oxford University Press.
[5] Gay, John. 2010. The Beggar's Opera, edited by Vivien Jones and David Lindley. London: Methuen Drama.
[6] Gonzales, Daniel. 2002. "The Culture of Crime: Representations of the Criminal in Eighteen-century England." PhD diss., Louisiana State University. https://digitalcommons.lsu.edu/gradschool_dissertations/112.
[7] Kidson, Frank. 1922. The Beggar's Opera. Its Predecessors and Successors. Cambridge: Cambridge University Press.
[8] The London Stage Database, 1660–1800. Eighteenth Century Drama. Accessed May 12, 2021. https://www.eighteenthcenturydrama.amdigital.co.uk/LondonStage/Database.
[9] Moore, Lucy. 2014. The Thieves' Opera. The Remarkable Lives and Deaths of Jonathan Wild, Thief-Taker and Jack Sheppard, House-Breaker. London: Endeavour Press.
[10] Mowry, Melissa. 2005. "Thieves, Bawds, and Counterrevolutionary Fantasies: The Life and Death of Mrs. Mary Frith." Journal for Early Modern Cultural Studies 5, no. 1: 26–48. | DOI 10.1353/jem.2005.0008
[11] Norton, Rictor, ed. 2003. "Jack Sheppard, Jail-Breaker." In Early EighteenthCentury Newspaper Reports. Accessed May 12, 2021. http://grubstreet.rictornorton.co.uk/sheppard.htm.
[12] O'Brien, John. 2004. Harlequin Britain: Pantomime and Entertainment, 1690–1760. Baltimore: John Hopkins University Press.
[13] O'Keefe, Douglas Franklin. 2007. "Ballad Opera, Imitation, and the Formation of Genre." PhD diss., Northwestern University. https://doi.org/10.21985/N26F0V. | DOI 10.21985/N26F0V
[14] Otway, Thomas. 1682. Venice Preserv'd or A Plot Discover'd. London: printed for Jos. Hindmarsh.
[15] Picard, Liza. 2004. Restoration London. Everyday Life in London 1660–1670. London: Phoenix.
[16] Pollmann, Judith. 2017. Memory in Early Modern Europe 1500–1800. Oxford: Oxford University Press.
[17] Semmens, Richard. 2016. Studies in the English Pantomime, 1712–1733. Hillsdale: Pendragon Press.
[18] Thurmond, John. 1724. Harlequin Sheppard. A Night Scene in Grotesque Characters. London: printed for J. Roberts and A. Dodd.
[19] Walker, Thomas. 1728. The Quaker's Opera. London: printed for J.W., and sold by J. Roberts, A. Dodd, and E. Nutt and E. Smith.
[20] Winton, Calhoun. 1993. John Gay and the London Theatre. Lexington: University Press of Kentucky.
[21] Wynne-Davies, Marion. 2009. "Orange-Women, Female Spectators, and Roaring Girls: Women and Theater in Early Modern England." Medieval & Renaissance Drama in England 22: 19–26.