This paper shall analyse Richard Brinsley Sheridan`s play “The School for Scandal”. This drama was first performed in 1776 in London’s Drury Lane Theatre, and was a cultural part of the colonization process in India.
The aim of the first chapter is to provide some background information about Sheridan and his time, and also serves to explain the role which the concept of the sentimental comedy played during the time it was first performed in London. The main focus here, however, is to explore the differences as well as the comparable elements with other comedy genres.
The second chapter deals with the production of “The School for Scandal” which was first performed in Calcutta in 1777. Here it seem appropriate to analise the motives behind the exportation of British culture into the colony and to find out more about the commercial as well as the cultural aspects.
An important source of information in reference to this production is the Folger manuscript; a handwritten copy of the play complete with stage directions, which had been used at the New Playhouse in Calcutta. It is necessary to mention here that this Folger manuscript “recovered” by Mita Choudhury, whose essay about the production of “The School for Scandal” is the main source for the second part of this paper. The aim of this chapter however, is not to summarise her work, but rather to approach her argumentation critically.
The last part of the paper deals with the question whether or not there is a connection between the play and the process of colonialism in Calcutta in terms of the production itself and its content. It also examines the part which colonialism plays within the drama, with regards to its moral and financial aspects.
Table of Contents
Introduction
1. “The School for Scandal”- a sentimental comedy?
2. “The School for Scandal” in Calcutta
2.1 The Production
3. The Importance of “The School for Scandal”
4. Conclusion
Research Objectives and Themes
This paper examines Richard Brinsley Sheridan’s play “The School for Scandal” in the context of colonial history, specifically focusing on its reception and production in 18th-century Calcutta. It explores the interplay between cultural export, sentimental comedy, and the underlying colonial socio-political structures that shaped the perception and success of the performance in British India.
- The role of sentimental comedy vs. restoration comedy elements in Sheridan’s work.
- The production history and cultural significance of the play in the Calcutta New Playhouse.
- The relationship between colonial expansion and the export of British theatre.
- Materialistic values and their reflection in the play’s content and colonial reality.
Excerpt from the Book
Commercial aspects
The motives of the British government during the 18th century were not yet that obvious though, compared to the centuries which were to follow. This can be mainly led back to the fact that the term “imperialism” was not really “invented” yet; the motive for colonising a country which had not been defeated in war, was mainly to secure sea-power as well as trading aspects.
Choudhury describes this way of hiding imperialistic motivation as a “commercial-trick”, which was used to make cultural manipulation of a foreign cultural system justifiable.20
Perhaps this attitude towards the British colonial power which seemed to be common then as well as in the following centuries can be compared to the role which the U.S.A. play in the world today, for example in the conflict with Iraq; it is rather seen as a moral instance, a force defining right or wrong as well as defining the value of a foreign culture, rather than being seen as an imperial power. Edward Said describes the two most important points of imperialisation –here concerning the U.S.A.-as follows: “one was the great power’s right to safeguard its distant interests even on the point of military invasion; the second was that lesser powers were also lesser peoples , with lesser rights, morals, claims.”21
It probably seemed in fact quite natural and maybe even altruistic to the British citizens of the 18th century to “help” foreign peoples who were in their opinion less developed, especially if this helped to improve economical aspects.
Summary of Chapters
Introduction: Outlines the scope of the analysis, which covers the literary characteristics of Sheridan's play and its historical staging in the Indian colonial context.
1. “The School for Scandal”- a sentimental comedy?: Discusses Sheridan’s integration of sentimental and restoration comedy traditions and how these contribute to the play's thematic core.
2. “The School for Scandal” in Calcutta: Analyzes the specific production conditions of the play in the New Playhouse in Calcutta and the efforts made to recreate an authentic British atmosphere.
2.1 The Production: Details the involvement of the East India Company and the role of the Folger manuscript in ensuring the play was performed as authentically as in London.
3. The Importance of “The School for Scandal”: Investigates the connection between the play's success and the colonial mindset, focusing on material values and the projection of imperial ideals.
4. Conclusion: Summarizes the thesis that the play serves as a reflection of colonial interaction and cultural influence.
Keywords
Richard Brinsley Sheridan, The School for Scandal, Sentimental Comedy, Restoration Comedy, Calcutta, Colonialism, New Playhouse, British Empire, Imperialism, Materialism, Cultural Manipulation, Drama, Theatre History, East India Company, Edward Said.
Frequently Asked Questions
What is the primary focus of this academic paper?
The paper focuses on the production and reception of Sheridan's “The School for Scandal” within the specific cultural and colonial context of 18th-century Calcutta.
Which theatrical genres are central to the analysis?
The author discusses the convergence of sentimental comedy and restoration comedy, examining how Sheridan utilized elements from both to create his work.
What is the central research question?
The research explores whether there is a meaningful connection between the play’s content, its production in Calcutta, and the broader processes of British colonialism.
What methodology is applied?
The study employs a literary and historical approach, analyzing the play's text alongside historical documents like the Folger manuscript and contemporary theoretical perspectives on imperialism.
What is addressed in the main body of the text?
The main body examines Sheridan's literary style, the logistical details of the colonial theatre productions in India, and the socio-political implications of exporting British culture abroad.
Which terms best characterize this work?
Key terms include postcolonial theatre, cultural export, 18th-century drama, and the historical intersection of trade and art.
Why was the Folger manuscript significant for the study?
It provided detailed, handwritten stage directions used at the New Playhouse in Calcutta, allowing the author to analyze how the London performance was replicated abroad.
How does the author interpret the success of the play in the colonies?
The success is interpreted as a reflection of the British colonial spirit, where the play served as an "illusion" of home that helped maintain the identity of the British Empire in a foreign land.
- Quote paper
- Miriam Dunja Berraissoul (Author), 2004, R.B. Sheridan's "A School For Scandal": a play in a colonial context, Munich, GRIN Verlag, https://www.grin.com/document/114766
