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This chapter offers a historical survey of ghost stories on stage. In placing a series of case studies, George Peele’s The Old Wives’ Tale (c.1595), Joseph Addison’s The Drummer (1715), Joanna Baillie’s Orra (1812), Leopold Lewis’s The Bells (1871), J. M. Barrie’s Mary Rose (1920), Stephen Mallatratt’s adaptation of Susan Hill’s The Woman in Black (1989), within the specific contexts of their original performance, it explores how ideas of the temporal work upon the staged ghost story to argue that the theatrical ghost story itself engages with and is shaped by ideas of time, history, and a nostalgia that is rife with political menace.

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    2025年

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  • Kelly Jones

摘要

This chapter offers a historical survey of ghost stories on stage. In placing a series of case studies, George Peele’s The Old Wives’ Tale (c.1595), Joseph Addison’s The Drummer (1715), Joanna Baillie’s Orra (1812), Leopold Lewis’s The Bells (1871), J. M. Barrie’s Mary Rose (1920), Stephen Mallatratt’s adaptation of Susan Hill’s The Woman in Black (1989), within the specific contexts of their original performance, it explores how ideas of the temporal work upon the staged ghost story to argue that the theatrical ghost story itself engages with and is shaped by ideas of time, history, and a nostalgia that is rife with political menace.