In the biocritical study Julia Augusta Webster, Rigg exalts The Sentence as the perfect fusion between stage drama and literary drama: "In The Sentence Webster would bring to fruition her awareness of the points at which stage drama and closet drama
might merge to produce the kind of drama she describes, particularly in more precise setting and actor position and expression notes than appeared in her earlier plays" (p.
They motivated Shelley to abandon one style of poetry for another, to reject closet drama
and create a dramatic role suited for the Regency's "It girl", Eliza O'Neill.
(14) Clara's closet drama
stages a battle between her authorized and unauthorized selves, both of which--it is crucial to note--exhibit her emotional perversions and repressions.
Elizabeth Sauer, in "Closet Drama
and the Case of Tyrannicall-Government Anatomized," focuses on a kind of drama in which the readers' private recitation was the only normal kind of performance.
This text also takes an unusual approach to women's closet drama
in other ways.
women in the closet drama
of Milton and Elizabeth Cary, but the
Cavendish's other work, especially her closet drama
and her scientific work, have equally attracted critical attention.
Burroughs's attentiveness to costume and different acting styles likewise adds weight to her arguments for understanding closet drama
on its own terms, and Joanna Baillie as its best exponent.
Wright acknowledges closet drama
precedents, particularly of the plays in the Senecan mode by Mary Sidney, Countess of Pembroke and her circle, but ends up stretching the public aspirations Cary may have had for her play too far.
Mary Sidney's translation of Robert Gamier's Tragedy of Antonie (1592) has received less attention than it deserves, probably because most twentieth-century readers don't know enough about neo-Senecan closet drama
to read Antonie as more than an inferior predecessor of Shakespeare's magnificent Antony and Cleopatra.
Dramatic ideology becomes defined by two contrary forces: a peak phenomenon which accentuates key periods in theatrical history leaving others in relative silence and a "culture gap" in which canonized plays are only seen by their commonality to other eras and other dramatic traditions, Therefore, Cox argues that drama during this key period (he carefully avoids its more conventional terminology of Romantic period) is viewed as either reflective of Elizabethan drama or deeply divided as closet drama
or as popular "stagey" performance drama.