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Diderot, ‘Le Paradoxe sur le comedien’ (1773), cited in Davis, ‘Theatricality and Civil Society’, 147. While Diderot’s initial report – ‘they say’ – may suggest that it was the norm to expect identification of actor with character at the time, this comment can be seen as a response to the particular problem created by Garrick’s apparently ‘naturalistic’ acting style – an issue Diderot addresses earlier. The professionalisation of acting was also seen as problematic: Joshua Reynolds’s report of Samuel Johnson’s observation that ‘Garrick’s trade was to represent passion, not to feel it’ is not nearly so positive as Diderot’s – for him, Garrick’s representation is mechanical, not intellectual – and Thomas Davies’s comment that ‘Shakespeare wrote from his heart; Garrick played from his head’, still less so; see Wilson, ‘Garrick, Iconic Acting’, 392.

72 Quantz’s appraisal has served recently as the starting point for Woyke’s assessment of the singer’s voice. Drawing on examination of Hasse’s music for Faustina, as well as Handel’s, Woyke offers clarification of some aspects of eighteenth-century reports. 74 71 72 73 74 Giambattista Mancini, on the other hand, said that Faustina was one of the last singers to use the martellato figure or style (‘hammering’ a note repeatedly; as a figure it was seemingly performed in groups of four notes, with the first of each group at a higher pitch); it required an ‘extraordinarily agile voice’; Riflessioni pratiche sul canto figurato, 201.

On a broader anthropological plane, the role of cultural performance as the root of identity formation was central to Victor Turner’s work on ritual and theatre; see Schechner, Performance Studies, 19. The importance of an epistemological approach to self-understanding in the eighteenth century is emphasised by Ian Watt in The Rise of the Novel, especially 9–34. 2 For modern theorists and for James, however, there is a sense that onand offstage roles are contaminated not only by each other, but also by social expectations (both general and particular) – and thus a sense of the concomitant complexity of the act of performance, wherever it occurs.

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