ABSTRACT

Drawing on censored manuscripts and personal writing, the article uncovers the invisible role played by Anna Larpent, the wife of John Larpent (Royal Theatre Censor 1777–1824), in shaping foreign drama and opera in Georgian Britain. Anna's journals demonstrate that, as a more attentive theatregoer and critic than her husband, she took on many aspects of the role of reviser and curator of the submitted plays and became an important mediator between European performance cultures and Georgian audiences. The article explores the complex and contradictory role played by Larpent as an “agent of translation” selecting and censoring European performance cultures throughout this period and introduces the notion of “domestic censorship” to give visibility to the labour and agency of women. In doing so, it highlights the value of archives of life writing in providing empirical evidence of the wide range of agents involved in shaping the translation of performance cultures.

摘要

这篇文章借鉴了被审查的手稿和个人写作，揭示了约翰·拉彭（John Larpent，皇家剧院审查员 1777-1824 年）的妻子安娜·拉彭在塑造格鲁吉亚英国的外国戏剧和歌剧方面扮演的无形角色。安娜的日记表明，作为一个比她丈夫更细心的剧院观众和评论家，她承担了提交剧本的许多方面的修改和策展人的角色，并成为欧洲表演文化和格鲁吉亚观众之间的重要调解人。这篇文章探讨了拉彭在这一时期作为选择和审查欧洲表演文化的“翻译代理人”所扮演的复杂而矛盾的角色，并引入了“国内审查制度”的概念，以突出女性的劳动和代理权。在这样做，