1. For the use of scientific devices on stage, see Barbara Marie Stafford, Body Criticism: Imaging the Unseen in Enlightenment Art and Medicine (Cambridge,MA: Massachusetts Institute of Technology Press,1991), pp.366-375, and Paul Ranger,`Terror and Pity Reign in Every Breast': Gothic Drama in the London Patent Theatres, 1750-1820 (London:The Society for Theatre Research, 1991), pp. 70-119.
2. On theatricalized litigation, see Judith Pascoe, Romantic Theatricality: Gender, Poetry, and Spectatorship (Ithaca:Cornell University Press, 1997), pp.33-67and my essay 'Women's Sovereignty onTrial: Joanna Baillie'scomedy The Tryal as Metatheatrics' in Women in British Romantic Theatre: Drama, Performance, and Society, 1790-1840, ed. Catherine Burroughs (Cambridge: Cambridge University Press, 2000), pp. 132-57. Michel Foucault notes how, in the nineteenth century, madness was a public spectacle with organized performances in which mad people sometimes played the roles of actors and sometimes played the roles of spectators. Madness was a thing to be looked at, Foucault explains, and 'madmen remained monsters - that is, etymologically, being or things to be shown'. See Madness and Civilization: A History of Insanity in the Age of Reason, trans. Richard Howard (1965