Table of contents
I. Introduction
I.I Why Mad Songs?
I.II The Sensitive Soul and the Passions
I.III Nature in Art and Speech
I.IV Aaron Hill's An Essay on the Art of Acting and its background
I.V Reflections
II.I The House of Bedlam
II.II Defining Madness in the 17th Century
II.III The Bedlam State of Mind
II.IV Mad Women
III. The Mad Mad Theatre
III.I The Mad Songs and the Theater
III.II What is a Mad Song, and What Makes it Mad?
III.III The Obsession: Mad Anne Bracegirdle
IV. The Mad Singer
IV.I The Ethical Aspect
IV.II A Reflection on the Issue of Genuinity
IV.III Embodiment
V. Executing Madness - The Handbook
V.II A Quick Guide to Vandenhoff
V.III Despair
V.IV Melancholy/Grief
V.V Fear
V.VI Anger
V.VII Wonder and Hope
V.VIII Love
V.IX Desire
V.X Joy
V.XI Revenge
V.XII Melancholy/Grief and Fear
V.XIII The whole song
VI. Observations and Reflections
VI.I Experiences When Embodying the Isolated Passions
VI.II Experiences When Embodying the Full Set of Passions
VI.III Reflections and Conclusions
VII. Final Conclusions
