{"id":6461,"date":"2026-05-21T17:04:31","date_gmt":"2026-05-21T17:04:31","guid":{"rendered":"https:\/\/www.bars.ac.uk\/blog\/?p=6461"},"modified":"2026-05-21T17:04:31","modified_gmt":"2026-05-21T17:04:31","slug":"romantic-drama-contemporary-performance-a-roundtable-discussion","status":"publish","type":"post","link":"https:\/\/www.bars.ac.uk\/blog\/?p=6461","title":{"rendered":"Romantic Drama, Contemporary Performance:\u00a0A Roundtable Discussion"},"content":{"rendered":"\n<p>2 June 2026, 5pm UK Time&nbsp;<\/p>\n\n\n\n<p><a href=\"https:\/\/uofglasgow.zoom.us\/webinar\/register\/WN_QLieh1WDSbSXqk36mtO5tg\">https:\/\/uofglasgow.zoom.us\/webinar\/register\/WN_QLieh1WDSbSXqk36mtO5tg<\/a><\/p>\n\n\n\n<p>With support from the Centre for Theatre Research and the Centre for Interdisciplinary Research in Literary Studies at the University of Essex&nbsp;<\/p>\n\n\n\n<p>Well into the twentieth century it was common to think of Romanticism as a period somewhat allergic to the stage. Even today, anthologies and surveys of the period emphasise the achievements of lyric poetry and the novel. When drama does arise, it often takes the form of what Byron called \u201cmental theatre.\u201d However, over the last 30 or 40 years, scholars have challenged this view to reveal in the period a \u201cranging debate about the theatre\u201d in which, according to Greg Kucich,\u201cthere is a recurrent insistence on stage production as an indispensable component of dramatic writing.\u201d This roundtable builds on this critical reassessment of the Romantic stage and how it informs contemporary work on Romantic drama. The question of whether (and which) Romantic plays were viable on the commercial stage has been re-energised by the emergence of practice-as-research methodologies, which have seen contemporary scholars experimenting with producing Romantic drama for modern audiences.&nbsp;<\/p>\n\n\n\n<p>Join our speakers, Chris Bundock, Helen Dallas, David Francis Taylor, James Harriman-Smith, Omar F. Miranda, for a roundtable on Romantic theatre and its afterlives!&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>2 June 2026, 5pm UK Time&nbsp; https:\/\/uofglasgow.zoom.us\/webinar\/register\/WN_QLieh1WDSbSXqk36mtO5tg With support from the Centre for Theatre Research and the Centre for Interdisciplinary Research in Literary Studies at the University of Essex&nbsp; Well&#8230; <a href=\"https:\/\/www.bars.ac.uk\/blog\/?p=6461\">Read more &raquo;<\/a><\/p>\n","protected":false},"author":10,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"pagelayer_contact_templates":[],"_pagelayer_content":""},"categories":[24,7],"tags":[],"_links":{"self":[{"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=\/wp\/v2\/posts\/6461"}],"collection":[{"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=6461"}],"version-history":[{"count":1,"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=\/wp\/v2\/posts\/6461\/revisions"}],"predecessor-version":[{"id":6462,"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=\/wp\/v2\/posts\/6461\/revisions\/6462"}],"wp:attachment":[{"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6461"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=6461"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.bars.ac.uk\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=6461"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}