THE :;,;:stage
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Morality, Artistry, Variety, and Topical Reference
-ISTORY," in the words of a prominent economist, “is tire
imaginative reconstruction of past experience from vestigial
remains." To reconstruct the London stage as it operated from
1660 to 1800, from evidence presented in over 75,000 remnants,
is, as has beeir noted by my co-editors, tire purpose oftlris series of volumes.
The institution wlrich emerges is not a property, a stage, an actor, a text,
or an .audience, but a complex business enterprise of increasing prosperity,
wlriclr took its place as a constairt in the daily life of London— as much of a
constant as tire clrurch, the government, the market, the transport system,
or the building and victualling trades. A people’s entertainmeirt is no Irad,
index to their civilization, and tire record of public performances provides
also a source wlriclr reflects many otlrer aspects of any age.
The practical, hard-bitten "age of enliglrtenment” (1700-1800)
spawned over six Irundred extremely caslr-conscious dramatists, wlrose
motives and ideals may have been varied, but who saw among trtlrer aims
for creative writing clear opportunity for rewards in Englislr pounds sterling.
Rut the dramatist lrimselfis only one member of the team in truly dranratic art.
Actors, dancers, singers, stage hands, house servants, managers, investors,
and the many traders wlio support them form integral parts oftlie art. And
such personnel, though possibly interested in the artistic power of plays,
were equally concerned witli the ai't as a gainful occupation. The audience
forms tire third equally important element in the drama— both as iirspiration