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Relevant bibliographies by topics / Elizabethan/Jacobean theatre

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Academic literature on the topic 'Elizabethan/Jacobean theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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Journal articles on the topic "Elizabethan/Jacobean theatre"

1

Rudin, Bärbel. "KLIENTELISMUS ALS THEATERGEWERBLICHE MIGRATIONSSTRATEGIE." Daphnis 42, no. 1 (2013): 141–70. http://dx.doi.org/10.1163/18796583-90001129.

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The continental expansion of the Elizabethan-Jacobean Theatre and the transnational influence of its drama attracted historical interest in the long 19th century, but the topic was then largely neglected for several decades in German-speaking areas for some decades, as a consequence of the war. The standstill in research, visible in the mass of out-dated standard literature, established the creation of numerous legends. A prime example which is examined here in close detail is the persistence of fictional biographical narratives relating to the English theatre director John Spencer. The trigger was a false Brandenburgish prince. An extensive concealed and interlinked control mechanism steered the “choreography of traveling people”* in the opening up of the continental theatre business: clientelism.

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McLuskie, Kathleen. "The Act, the Role, and the Actor: Boy Actresses On the Elizabethan Stage." New Theatre Quarterly 3, no. 10 (1987): 120–30. http://dx.doi.org/10.1017/s0266464x00008617.

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Recent feminist criticism has led to a reassessment of women's roles in the Elizabethan drama, especially in such ‘difficult’ plays asThe Taming of the Shrewor Shakespeare's problem comedies. Yet this has often been with an implicit belief in the appropriateness of ‘psychological’ or ‘interpretive’ approaches to character and gender quite alien to the period in which the plays were first performed. In the following article. Kathleen McLuskie. who teaches in the Department of Theatre at the University of Kent, looks at the different, often conflicting approaches to the sexuality of performance in the Elizabethan and Jacobean periods, at how these were reflected both in theatrical conventions and in contemporary attitudes to the plays and the ‘boy actresses’ – and at some possible implications for modern productions.

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Brown, John Russell. "Representing Sexuality in Shakespeare's Plays." New Theatre Quarterly 13, no. 51 (1997): 205–13. http://dx.doi.org/10.1017/s0266464x00011210.

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Sexuality resides in much more than what is spoken or even enacted, and its stage representation will often work best when the minds of the spectators are collaboratively engaged in completing the desired response. John Russell Brown, founding Head of Drama at the University of Birmingham and a former Associate Director of the National Theatre, here explores Shakespeare's arts of sexual obliquity, whether in silence, prevarication, or kindled imagination, and their relationship both with more direct forms of allusion and with an audience's response. John Russell Brown, currently Professor of Theatre at the University of Michigan, is author of numerous books on Shakespeare and modern drama, and editor of many Elizabethan and Jacobean texts – most recently a new edition of Shakespeare for Applause Books, New York.

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Murphy, Emilie K. M. "Musical self-fashioning and the ‘theatre of death’ in late Elizabethan and Jacobean England." Renaissance Studies 30, no. 3 (2015): 410–29. http://dx.doi.org/10.1111/rest.12154.

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Shevtsova, Maria. "An Editor's Wish List." New Theatre Quarterly 25, no. 4 (2009): 303–5. http://dx.doi.org/10.1017/s0266464x0900058x.

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The co-editors of New Theatre Quarterly take time out here to reflect on the milestone of the journal reaching its hundredth consecutive issue, in succession to the forty of the original Theatre Quarterly. Simon Trussler was one of the founding editors of the ‘old’ Theatre Quarterly in 1971. He is the author of numerous books on drama and theatre, including New Theatre Voices of the Seventies (1981), Shakespearean Concepts (1989), the award-winning Cambridge Illustrated History of British Theatre (1993), The Faber Guide to Elizabethan and Jacobean Drama (2006), and Will's Will (2007). Formerly Reader in Drama in the University of London, he is now Professor and Senior Research Fellow at Rose Bruford College. Maria Shevtsova, who has been co-editor of New Theatre Quarterly since 2003, is Professor of Drama and Theatre Arts and Director of Graduate Studies at Goldsmiths, University of London. The author of more than one hundred articles and chapters in collected volumes, her books include Dodin and the Maly Drama Theatre: Process to Performance (2004), Fifty Key Theatre Directors (co-edited with Shomit Mitter, 2005), Robert Wilson (2007), Directors/Directing: Conversations on Theatre (with Christopher Innes, 2009), and Sociology of Theatre and Performance (2009).

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Shevtsova, Maria. "The Sociology of the Theatre, Part Two: Theoretical Achievements." New Theatre Quarterly 5, no. 18 (1989): 180–94. http://dx.doi.org/10.1017/s0266464x00003079.

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In the first part of this three-part series. Maria Shevtsova discussed the misconceptions and misplacement of emphases which have pervaded sociological approaches to theatre, and proposed her own methodology of study. Here, she examines in fuller detail two aspects of her taxonomy which have an existing sociological literature – looking first at dramatic theory, as perceived by its sociological interpreters from Duvignaud onwards and (perhaps more pertinently) backwards, to Gramsci and Brecht. She then considers approaches to dramatic texts and genres, especially as exemplified in the explication of Elizabethan and Jacobean tragedy. Finally, she explores the implications and assumptions of the relatively new discipline of ‘theatrical anthropology’, in which theatre is taken to be the prototype of society. Now teaching in the Department of French Studies at the University of Sydney, Maria Shevtsova trained in Paris before spending three years at the University of Connecticut. She has previously contributed to Modern Drama, Theatre International, and Theatre Papers, as well as to the original Theatre Quarterly and other journals.

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7

Fotheringham, Richard. "The Doubling of Roles on the Jacobean Stage." Theatre Research International 10, no. 1 (1985): 18–32. http://dx.doi.org/10.1017/s0307883300010464.

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A decade ago the analysis of the structure of the plays performed by the Elizabethan, Jacobean, and Caroline professional theatre companies, in order to discover patterns of doubling of the roles, seemed to hold considerable promise for further inquiry. D. M. Bevington's pioneering From ‘Mankind’ to Marlowe and W. A. Ringler's article ‘The Number of Actors in Shakespeare's Early Plays’ offered direct evidence and tools for structural analysis, and were followed by important studies by Scott McMillin, Irwin Smith, and others. Nevertheless, since then interest in this area – and particularly in doubling on the seventeenth-century stage – seems to have declined. The assumption made explicitly by Bevington and implied by most other commentators has been that as the professional acting companies expanded their resources, found patrons, and increased the number of their liveried personnel, the frenetic doubling of the Tudor era became unnecessary. Apart from some unhurried doubling of very minor characters and extras, they believe this practice virtually disappeared from the Jacobean stage, rendering further investigation unnecessary. The small amount of direct evidence to the contrary, first noted by W. J. Lawrence in 1927, has been analysed as an interesting but aberrant phenomenon; occasional atavistic survivals in a more opulent and refined age whose taste was turning towards ‘realism’ in acting and production methods.

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8

Trussler, Simon. "Peter Pan and Susan: Lost Children from Juliet to Michael Jackson." New Theatre Quarterly 23, no. 4 (2007): 380–86. http://dx.doi.org/10.1017/s0266464x07000292.

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As the two articles following this amplify, whatever one's views of its intrinsic merits, J. M. Barrie's Peter Pan is open to a multiplicity of readings, and (notably since the RSC broke the mould in 1982) of stage interpretations – not to mention its co-option into Walt Disney's cartoon canon. Simon Trussler takes the play for a spin in such unaccustomed company as Romeo and Juliet and the almost contemporaneous ‘tragedy of childhood’ by Frank Wedekind, Spring Awakening, exploring the theme it sustains of betrayed childhoods, surrogate parenting, and changing attitudes towards grown men sleeping with small boys – a magical experience for Barrie, but much less comfortable for the singer Michael Jackson in his ranch called…Neverland. Simon Trussler is Co-Editor of New Theatre Quarterly and presently Professor and Senior Research Fellow at Rose Bruford College. His numerous books on drama and theatre include Shakespearean Concepts (Methuen, 1989), the award-winning Cambridge Illustrated History of British Theatre (1993), The Faber Pocket Guide to Elizabethan and Jacobean Drama (2006), and Will's Will: the Lives and Last Wishes of William Shakespeare (National Archives, 2007).

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9

Holderness, Graham. "The Albatross and the Swan: Two Productions at Stratford." New Theatre Quarterly 4, no. 14 (1988): 152–58. http://dx.doi.org/10.1017/s0266464x00002682.

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Has the Royal Shakespeare Theatre in Stratford become an expensive irrelevance – actually hindering what should be the real work of the parent company, which has to expend so much of its cash and its energy in running it? Certainly, some were tempted to suggest so when the RSC's most exciting Shakespeare productions of the ‘seventies seemed to be emerging from the spartan environment of The Other Place. Now, Graham Holderness, through a detailed comparison of last season's main-house revival of The Taming of the Shrew and the Swan production of Titus Andronicus, argues that the creation of the Swan – a theatre space specifically but not ‘archeologically’ designed for Elizabethan and Jacobean plays – heightens the sense of a ‘contradictory relationship’ between the RSC's two ‘classical’ houses in Stratford. Graham Holderness, author of several studies in the fields of Renaissance drama and the modern novel, is presently Head of Drama at Roehampton Institute.

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Ahmed, Shokhan Rasool. "The significance of Stage Directions in Aristophanes' Peace." Journal of University of Raparin 6, no. 2 (2019): 19–34. http://dx.doi.org/10.26750/vol(6).no(2).paper2.

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Abstract This study is principally concerned with the staging of Aristophanes’ Peace. John Dee (1527-1609) was the first person to design a clever stage-effect for Greek drama, Aristophanes’ Peace, and made a giant beetle that could move from the air down to the stage. The nature and status of stage directions in this play will also be investigated, paying particular attention to the status of stage directions in printed text, and whether these stage directions were originally written by the playwright himself or were revised or supplied by editors, scriveners or members of the theatre companies. The paper will also evaluate how the technology of the Elizabethan playhouse facilitated the appearance of dung-beetle on stage.  There was a great demand in the Elizabethan era for plays about spectacular tricks. People at that time were delighted in the dexterity of the supernatural mysteriousness of the magician and witches, and moreover there was a popular appetite for spectacles within such a play. One of the most widespread themes in legend and Elizabethan stage is the flying of supernatural entities. Dragons and dung-beetles are physically manifested differently on Elizabethan stage compared to Medieval and Jacobean stages. Flying of dragons and beetles had a remarkable fiery effect in theatre to create a new genre of spectacle in presenting princely power and martial values to the audience. The special effect of John Dee’s flying scarab for a Cambridge performance of Aristophanes’ Peace also prompted ‘great wondering and many vain reports spread abroad of the means how that was effected’ (Jefferies, 2011). In Aristophanes’ Peace, Trygaeus rides on the back of a giant dung beetle to the heaven in order to arrange peace for the Greeks. The flight scene offers an element of slapstick comedy to the play and makes a comical history out of the flight of the giant beetle. John Dee’s stage directions in Aristophanes’ Peace are very elaborate and clear which help the reader imagine how the play was staged (Hall & Wrigley, 2007). The findings of this study would be beneficial for the researchers, the students of English department and theatre companies.

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Dissertations / Theses on the topic "Elizabethan/Jacobean theatre"

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Mansfield, Richard G. "The Protean player : the concept and practice of doubling in the plays of Shakespeare and his contemporaries c. 1576-1631." Thesis, University of East Anglia, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327765.

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Oram, Yvonne. "Older women in Elizabethan and Jacobean drama." Thesis, University of Birmingham, 2002. http://etheses.bham.ac.uk//id/eprint/1778/.

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This thesis explores the presentation of older women on stage from 1558-1625, establishing that the character is predominantly pictured within the domestic sphere, as wife, mother, stepmother or widow. Specific dramatic stereotypes for these roles are identified, and compared and contrasted with historical material relating to older women. The few plays in which these stereotypes are subverted are fully examined. Stage nurse and bawd characters are also older women and this study reveals them to be imaged exclusively as matching stereotypes. Only four plays, Peele’s The Old Wives Tale, Fletcher’s Bonduca, and Antony and Cleopatra and The Winter’s Tale, by Shakespeare, reject stereotyping of the central older women. The Introduction sets out the methodology of this research, and Chapter 1 compares stage stereotyping of the older woman with evidence from contemporary sources. This research pattern is repeated in Chapters 2-4 on the older wife, mother and stepmother, and widow, and subversion of these stereotypes on stage is also considered. Chapter 5 reveals stereotypical stage presentation as our principal source of knowledge about the older nurse and bawd. Chapter 6 examines the subtle, yet comprehensive, rejection of the stereotypes. The Conclusion summarises the academic and ongoing cultural relevance of this thesis.

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3

Weber, Minon. "Rediscovering Beatrice and Bianca: A Study of Oscar Wilde’s Tragedies The Duchess of Padua (1883) and A Florentine Tragedy (1894)." Thesis, Stockholms universitet, Engelska institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-184574.

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Towards the end of the 19th century Oscar Wilde wrote the four society plays that would become his most famous dramatical works: Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895). The plays combined characteristic Wildean witticisms with cunning social criticism of Victorian society, using stereotypical characters such as the dandy, the fallen woman and the “ideal” woman to mock the double moral and strict social expectations of Victorian society. These plays, and to an extent also Wilde’s symbolist drama Salomé (1891), have been the object of a great deal of scholarly interest, with countless studies conducted on them from various angles and theoretical perspectives. Widely under-discussed, however, are Wilde’s two Elizabethan-Jacobean tragedies, The Duchess of Padua (1883) and A Florentine Tragedy (1894). This thesis therefore sets out to explore The Duchess of Padua and A Florentine Tragedy in order to gain a broader understanding of Wilde’s forgotten dramatical works, while also rediscovering two of Wilde’s most transgressive female characters—Beatrice and Bianca. Challenging traditional ideas of gender and female sexuality, Beatrice and Bianca can be read as proto-feminist figures who continually act transgressively, using their voice and agency to stand up against patriarchy and asserting their rights to experience their lives on their own terms. Through an in-depth study of these plays, this thesis will demonstrate that Wilde’s Elizabethan-Jacobean tragedies, with their strong, modern female characters Beatrice and Bianca deserve greater critical attention on a par with the extensive scholarship on Wilde’s well-known dramatical works.

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Benitez, Michael Anthony. "The discursive limits of "carnal knowledge"| Re-reading rape in Elizabethan, Jacobean, and Restoration drama." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1598621.

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<p> This thesis, by analyzing how rape is treated in William Shakespeare’s <i> Titus Andronicus</i> (1592-3), Thomas Middleton and William Rowley’s <i> The Changeling</i> (1622), and Aphra Behn’s <i>The Rover</i> (1677), details how the early modern English theater frequently dramatizes the period’s problematic understanding of rape. These texts reveal the social and legal illegibility of rape, illuminating just how deeply ambivalent and inconsistent patriarchy is toward female sexuality. Both using and departing from a feminist critical tradition that emphasized rape as patriarchy’s sexual entrapment of women, my readings of the period’s legal treatises and other documents call attention to the ambiguity of how rape is defined in early modern England. As represented in these three plays, male rapists exploit the period’s paradoxical views of female sexual consent, thus complicating how raped women negotiate their social and legal status. The process of disclosing her violation ultimately places a raped woman in an untenable position.</p>

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Books on the topic "Elizabethan/Jacobean theatre"

1

Roaring boys: Playwrights and players in Elizabethan and Jacobean England. Sutton, 2004.

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Chu, Hsiang-chun. Metatheater in Elizabethan and Jacobean drama: Four forms of theatrical self-reflexivity. Edwin Mellen Press, 2008.

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Ching-Hsi, Perng, ed. Metatheater in Elizabethan and Jacobean drama: Four forms of theatrical self-reflexivity. Edwin Mellen Press, 2008.

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4

Clare, Janet. Art made tongue-tied by authority: Elizabethan and Jacobean dramatic censorship. 2nd ed. Manchester University Press ; New York : Distributed in the USA by St. Martin's Press, 1999.

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5

'Art made tongue-tied by authority': Elizabethan and Jacobean dramatic censorship. Manchester University Press, 1990.

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6

Spatial representations and the Jacobean stage: From Shakespeare to Webster. Palgrave, 2002.

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7

Evans, G. Elizabethan Jacobean Drama: The Theatre in Its Time. New Amsterdam Books, 1988.

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8

1912-, Evans G. Blakemore, ed. Elizabethan-Jacobean drama: The theatre in its time. New Amsterdam, 1988.

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9

Elizabethan Jacobean Drama: The Theatre in Its Time. New Amsterdam Books, 1998.

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1912-, Evans G. Blakemore, ed. Elizabethan-Jacobean drama. A & C Black, 1987.

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Book chapters on the topic "Elizabethan/Jacobean theatre"

1

Leach, Robert. "Elizabethan and Jacobean." In An Illustrated History of British Theatre and Performance. Routledge, 2018. http://dx.doi.org/10.4324/9780429463686-27.

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2

Putzel, Steven. "Satzdenken, Indeterminacy and the Polyvalent Audience." In Sentencing Orlando. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474414609.003.0012.

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In this chapter, Steven Putzel introduces Roman Ingarden’s concept of satzdenken – the ‘flow of thinking the sentence’ – to examine the theatricality of Woolf’s sentences. Approaching his selected sentence through audience reception theory, Putzel also engages rich contextual material from Woolf’s preoccupation with Elizabethan and Jacobean theatre. His reading historicises textual variants between the first UK and US editions of Orlando, and stages for us his own analytic processing of the sentence – which included consulting the opinion of ‘a few grammarians’, who recommended he ‘rewrite the sentence’.

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Owens, Rebekah. "Shakespeare’s Macbeth – ‘This most bloody piece of work’." In Macbeth. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325130.003.0001.

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This chapter talks about William Shakespeare, who wrote Macbeth when he was already a successful playwright and was working at the Globe in London. It mentions the work ethic of the Elizabethan and Jacobean theatre, such as the collaboration and co-operative of fellow playwrights who wrote for the stage. It also discusses the features of plays of the theatre group writers that would be recognise today as 'horror'. The chapter discloses John Webster as one of Shakespeare's colleagues who developed a reputation as an author of horror that has since been immortalised in popular culture, such as in the film Shakespeare In Love. It recounts One of Shakespeare's first works called Titus Andronicus, which has a description of human sacrifice at the beginning.

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Perletti, Greta. "Theatre and Memory: The Body-as-Statue in Early Modern Culture." In Bodies of Stone in the Media, Visual Culture and the Arts. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789089648525_chi01.

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This chapter relates the statue-like bodies of some Elizabethan and early Jacobean plays to the theories about memory and forgetting that were circulating in late sixteenth-century philosophical and medical discourse. In particular, the chapter shows how memory images, which in antiquity played a pivotal role in the art of memory, were represented as inducing a paralysing, statue-like state in living bodies. Shakespeare’s work partakes in this re-assessment of memory images, as words are more powerful memory triggers and carriers than monuments and statues. Moreover, while Shakespeare’s tragedies stage bodies turning into stone because of the destructive fixedness of the past, his late plays manage to set in motion the images produced by memory and by so doing resist death-like paralysis.

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Bentley, G. E. "Lenten Performances in the Jacobean and Caroline Theaters." In Essays on Shakespeare and Elizabethan Drama. Routledge, 2017. http://dx.doi.org/10.4324/9781315199122-28.

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