Restoration Women's Drama - Behn, Aphra; Boothby, Frances; Philips, Katherine; Cavendish, Margaret
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Erscheint vorauss. 19. Januar 2026
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This anthology of four plays written or performed between 1662 and 1677 offers a unique snapshot of the diverse nature of Restoration drama by women. Restoration Women's Drama collects four Restoration plays by women: the highly acclaimed Katherine Philips, the successful professional Aphra Behn, the confidently original Margaret Cavendish, and the obscure pioneer Frances Boothby. This anthology includes Behn's only tragedy as well as the first printed edition of Boothby's Marcelia, the first play by a woman to be professionally staged in London, demonstrating the range of early modern drama…mehr

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Produktbeschreibung
This anthology of four plays written or performed between 1662 and 1677 offers a unique snapshot of the diverse nature of Restoration drama by women. Restoration Women's Drama collects four Restoration plays by women: the highly acclaimed Katherine Philips, the successful professional Aphra Behn, the confidently original Margaret Cavendish, and the obscure pioneer Frances Boothby. This anthology includes Behn's only tragedy as well as the first printed edition of Boothby's Marcelia, the first play by a woman to be professionally staged in London, demonstrating the range of early modern drama produced by women in this period. An excellent introduction, it is poised to stimulate new discussions of women's authorship, theatrical knowledge, and literary affinities. Each play has been edited afresh, and each has been modernized and annotated to facilitate reading, teaching, and performance possibilities.
Autorenporträt
Aphra Behn (1640-89) was the most prolific female playwright of the Restoration and the first Englishwoman to make a living as a professional writer. Best known for her 1677 comedy The Rover and for Oroonoko, her 1688 novella of Atlantic slavery, she also published lyric poetry and translations from works in Latin and French. Abdelazer, her only tragedy, draws from existing early modern treatments of stage Moors, and offers a blend of received notions about black masculinity with a portrait of besieged royalty.