I he Afterpiece
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٠٥ Garrick period, as already explained by Dr Avery and Dr^conten,
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become an established portion of tire niglit’s offering in,
le theatre. Before 1747 one customarily accompanied each old play in tire
,;
and after 1747 hardly a new play, even, appeared rvitlrout soon
Clng complemented witlr an afterpiece. These petite pieces exhibited tire
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type that they had from 1720 oir— farce, ballad opera,
Lirlctta, pantomime, and procession.
Parce.
The eiglrteenth century, togetlrer with being air age of song
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dance, miglrt also Ire viewed as the great age of English farce.
Co" lists over 162 composed in the Garrick period, wlrile double tlrat
١ appear in the last quarter of tire ceirtury. Most oftlrese also reached
p;t reading public, and tlrus rewarded
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authors tw
The nrore
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Ones on stage were gathered into voluirrinous collections.«! Some
Pc: !;sted a night only, some never reached the press, but a solid group
ancl^tcd on stage throughout the period, aird often boasted m^e perform-
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!? than did many a nrainpiece. Tire Anatomist , as long as Ned Blakes was
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the sham doctor in it, ofteir opened the sea
at Drury I.ane,
if r'mulating7
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performances during tire period. Iir tire 1748-49 season
r : 20 night
By 1773-73 it was just maintaining its place iir tire
P ;;tory
with a single performance. It seems to lrave been the special
Cl of .Drury Lane and did not appear at Covcnt Garden. Garrick’s
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the otlrer hand, witlr 155 performances at Drury Laire, was almo
ly y popolar at Covcnt Garden, goth these
missed a year occasional^
5b0(J : ;;،،:،/ to Pay ! however, witlr 144 performairces at Drury Lane, and
hit; half that number at Covent Garden never missed a season. Garrick’s
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acted at 1.011 don and
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Supplement to Bell's British Theatre, consisting
٥٢
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(Edinburg
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tie
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٠٢ isb
■Stase,
4
vols.
(Edinburg, 1782-83), expanded to
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vols,
in tire second' edition
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