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Relevant bibliographies by topics / English Renaissance theatre

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Academic literature on the topic 'English Renaissance theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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Journal articles on the topic "English Renaissance theatre"

1

Eaton, Sara, and Katharine Eisaman Maus. "Inwardness and Theatre in the English Renaissance." Sixteenth Century Journal 27, no. 2 (1996): 620. http://dx.doi.org/10.2307/2544239.

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Smallwood, R. L., and David Stevens. "English Renaissance Theatre History: A Reference Guide." Modern Language Review 81, no. 3 (July 1986): 716. http://dx.doi.org/10.2307/3729209.

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MacLean, Sally-Beth. "Drama and ceremony in early modern England: the REED project." Urban History 16 (May 1989): 38–46. http://dx.doi.org/10.1017/s0963926800009160.

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In 1976 a medieval and renaissance theatre history project was launched under the masthead Records of Early English Drama (now more familiarly known as REED). The official launch had taken two years of planning by scholars from Britain, Canada and the United States, and was given assurance for the future through a ten-year major Editorial Grant from the Canada Council. REED's stated goal – then as now – was to find, transcribe and publish evidence of dramatic, ceremonial and musical activity in Great Britain before the theatres were closed in 1642. The systematic survey undertaken would make available for analysis records relating to the evolution of English theatre from its origins in minstrelsy, through the flowering of drama in the renaissance, to the suppression first of local and then of professional entertainment under the Puritans.

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Daemen-de Gelder, Katrien. "Devil Theatre. Demonic Possession and Exorcism in English Renaissance Drama, 1558-1642 (Studies in Renaissance Literature)." English Studies 90, no. 1 (February 2009): 118–19. http://dx.doi.org/10.1080/00138380802666439.

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Guarracino, Serena. "«Come muovermi nel mio corpo da uomo»: il corpo maschile travestito nel teatro inglese, dai ragazzi attori a Caryl Churchill." Storia delle Donne 16 (July 7, 2021): 37–53. http://dx.doi.org/10.36253/sd-11461.

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Among the many traditions of cross-dressing in performing practices, English Renaissance theatre plays a central symbolic role, especially considering the Shakespearean canon; however, only through the disruptive reading of gender and queer studies Shakespeare’s theatre has been studied as a transvestite theatre in which all female parts were played by boy actors. This article intends to show how this transvestite body opens a diachronic perspective on those theatrical practices of the second half of the twentieth century that rediscover the Elizabethan stage as a locus of artifice. Renaissance and twentieth-century theatre thus share the transvestite male body, not following a linear dynamic of model and imitation, but in a much more complex interweaving of echoes and returns. Through an analysis of two works by the playwright Caryl Churchill, Cloud Nine (1979) and A Mouthful of Birds (1986), the essay explores the transvestite male body as a place of dialogue between the Shakespearean and the contemporary scene, which share effeminacy -here understood as the staging of femininity on a male body- as a detonator for a wider crisis of binary categories.

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Evenden, E. "Devil Theatre: Demonic Possession and Exorcism in English Renaissance Drama 1558-1642." English Historical Review CXXIV, no. 506 (February 1, 2009): 157–59. http://dx.doi.org/10.1093/ehr/cen380.

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Scarr, Richard. "Alan Bennett: Political Playwright." New Theatre Quarterly 12, no. 48 (November 1996): 309–22. http://dx.doi.org/10.1017/s0266464x00010502.

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Alan Bennett is one of the most popular mainstream dramatists working in Britain today, his canon now a mainstay of regional and amateur theatre companies. Yet for a writer who was once compared to John Osborne as taking ‘the moral temperature of the nation’, his output is widely regarded as apolitical and, at worst, ‘safe’. In the following article, Richard Scarr suggests that this viewpoint is misleading, and argues that Bennett is not only one of the most politically contentious playwrights in dominant theatre, but that the ideological viewpoints he has supported have changed as his career has progressed. Richard Scarr is an English graduate of the University of North London, and has recently completed an MA in Renaissance Studies at Queen Mary and Westfield College. He is currently researching a PhD on the rhetoric of Renaissance comedy, with particular emphasis on the double-entendre.

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Maguin, Jean-Marie. "The Theatre: Review: Book: Journeymen in Murder. The Assassin in English Renaissance Drama." Cahiers Élisabéthains: A Journal of English Renaissance Studies 43, no. 1 (April 1993): 71–74. http://dx.doi.org/10.1177/018476789304300115.

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Alqadumi, Emad A. "The iconoclastic theatre: transgression in Christopher Marlowe’s Tamburlaine." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (April 15, 2020): 281–93. http://dx.doi.org/10.4314/ejotmas.v7i1-2.18.

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This article examines Christopher Marlowe’s iconoclasm as a dramatist by probing transgressive features in his Tamburlaine the Great, parts I and II. By depicting instances of excessive violence, from the perspective of this study, Marlowe flouts everything his society cherishes. His Tamburlaine demystifies religious doctrines and cultural relations; it challenges the official view of the universe and customary theatrical conventions of Renaissance drama. It destabilizes the norms and values of the Elizabethans and brings about a crisis between the Elizabethan audience and their own culture. Furthermore, Marlowe’s experimentalism in Tamburlaine expands the imaginative representations to include areas never formerly visited, consequently creating an alternative reality for his audience and transforming the popular English theatre in an unprecedented manner. Keywords: Drama, Christopher Marlowe, Elizabethan theatre, Literature, Iconoclasm

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Mottershead, Tim. "Salvatore Sciarrino The Killing Flower Music Theatre Wales, Buxton Opera House." Tempo 68, no. 267 (January 2014): 67–68. http://dx.doi.org/10.1017/s0040298213001411.

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Sciarrino's two-act chamber opera Luci mie traditrici is based on the true story of Renaissance composer Carlo Gesualdo's brutal murder of his wife and her lover. Numerous composers in the last 50 years or so have been sufficiently fascinated by Gesualdo to write works based on his life or music, including seven operas appearing in the last two decades. Sciarrino based his libretto on a drama written only 50 years after Gesualdo's death by Giacinto Andrea Cicognini. This UK premiere conducted by Michael Rafferty was given at the Buxton Festival by Music Theatre Wales, translated into English by Paola Loreto (and set to the music by Kit Hesketh-Harvey) as The Killing Flower.

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Dissertations / Theses on the topic "English Renaissance theatre"

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Hattori, Natsu. "Performing cures : practice and interplay in theatre and medicine of the English Renaissance." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284234.

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Orman, S. "Nathan Field's theatre of excess : youth culture and bodily excess on the early modern stage." Thesis, Canterbury Christ Church University, 2014. http://create.canterbury.ac.uk/13427/.

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This dissertation argues for the reappraisal of Jacobean boy actors by acknowledging their status as youths. Focussing on the repertory of The Children of the Queen’s Revels and using the acting and playwriting career of Nathan Field as an extensive case-study, it argues, via an investigation into cultural and theatrical bodily excess, that the theatre was a profoundly significant space in which youth culture was shaped and problematised. In defining youth culture as a space for the assertion of an identity that is inherently performative, the theatre stages young men’s social lives to reflect the performativity of masculinity in early modern culture. Chapters One to Three focus on the body of Nathan Field by investigating the roles that he performed in the theatre to claim that the staging of bodily excess amounted to an effort to inculcate correct paths of masculinity. Chapters Four and Five offer detailed analysis of the plays written by Nathan Field, finding that Field was keen to champion positive aspects of youth culture and identity by reforming bodily excess on stage. Chapter One asserts that George Chapman’s Bussy D’Ambois (1603) identifies the protagonist’s excessive violence as a failure to adhere to humanist teachings; a sign that youth culture is dependent upon the lessons learnt in school, whereas Chapter Two finds that Eastward Ho (1605) condemns the monstrous youthful drunken body before encouraging the audience to value apprenticeship as a positive site of youth identity. Chapter Three argues that John Fletcher’s Faithful Shepherdess (1607) reveals a range of polluted young bodies to demonstrate the importance of moderating the humoral fluctuations of youth before Chapter Four finds Field to be a conservative dramatist who ridicules excess with explicit didactic intentions in his Woman is a Weathercock (1610) and Amends for Ladies (1611). Finally Chapter Five locates aspects of excessive service in Field and Fletcher’s The Honest Man’s Fortune (1613) to problematise aspects of youth culture, friendship and eroticism. The dissertation concludes with a retrospective appraisal of Field’s multifarious identities that championed youth culture, morality and celebrity.

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Reed, Delanna Kay. "Readers Theatre in Performance: The Analysis and Compilation of Period Literature for a Modern Renaissance Faire." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500784/.

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The thrust of this study was twofold: to research and compile a script of English Medieval and Renaissance literature and to direct a group performance of the script in the oral interpretation mode at Scarborough Faire in Waxahachie, Texas. The study sought to show that a Readers Theatre script compiled of literature from the oral tradition of England was a suitable art form for a twentieth-century audience and that Readers Theatre benefited participants in the Scarborough Faire workshop program. This study concluded that the performed script appealed to a modern audience and that workshop training was enhanced by Readers Theatre in rehearsal and performance.

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Gambill, Christin N. "" A Poor Player That Struts and Frets His Hour Upon the Stage..." The English Theatre in Transition." University of Akron / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=akron1458984846.

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Loeb, Andrew. "Subjectivity and Music in Early Modern English Drama." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32129.

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Music in the early modern world was an art form fraught with tensions. Writers from a wide variety of backgrounds and disciplines engaged in a vibrant debate about the value of hearing and playing music, which could be seen as a useful tool for the refinement of the individual or a dangerous liability, capable of compelling inappropriate thoughts, feelings, and behaviours. This study analyzes music on the early modern stage and its relation to emerging ideas about subjectivity. Early modern philosophies of music, I demonstrate, are concerned with the stability of the body, the soul, and the humours and spirits that unite them, along with the individual’s capacity for autonomy and agency. In the theatre, I argue, music is frequently deployed as a strategy for experimenting with ways of imagining and performing selfhood. On one hand, it can facilitate self-fashioning, acting as a marker for such characteristics as class and spiritual condition; on the other, it can be disruptive to identity and the capacity for agency and autonomy, since music was understood as both penetrative and transformative, facilitating the disruption of one self by an other. Chapter 1, “Meanings of Music in Early Modern England,” surveys a range of early modern texts on music to demonstrate their concerns with both the performance of the self and the threat of its dissolution. Chapter 2, “Many Sorts of Music in Twelfth Night and The Roaring Girl,” examines music’s role as an imaginative strategy for improvising an unstable, hybrid gender identity, an alternative subject-position from which to speak and act in ways ordinarily denied to women. Chapter 3, “Music, Magic, and Community in Early Modern Witchcraft Plays,” explores witches’ uses of music to establish a sense of communal identity and to magically disrupt the communities from which they have been excluded. Finally, Chapter 4, “Noise, the City, and the Subject in Epicoene” makes a case for understanding Morose’s fear of noise in terms of early modern ideas about music, reading noise as a radical instability representative of new ways of fashioning selves in a rapidly expanding urban environment.

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Di, Ponio Amanda Nina. "The Elizabethan Theatre of cruelty and its double." Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/836.

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This thesis is an examination of the theoretical concepts of Antonin Artaud (1896-1948) and their relation to the Elizabethan theatre. I propose that the dramas of the age of Shakespeare and the environment in which they were produced should be seen as an integral part of the Theatre of Cruelty and essential to its very understanding. The development of the English Renaissance public theatre was at the mercy of periods of outbreaks and abatements of plague, a powerful force that Artaud considers to be the double of the theatre. The claim for regeneration as an outcome of the plague, a phenomenon causing intense destruction, is very specific to Artaud. The cruel and violent images associated with the plague also feature in the theatre, as do its destructive and regenerative powers. The plague and its surrounding atmosphere contain both the grotesque and sublime elements of life Artaud wished to capture in his theatre. His theory of cruelty is part of a larger investigation into the connection between spectacle, violence, and sacrifice explored by Mikhail Bakhtin, René Girard, and Georges Bataille.

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Holmes, Rachel E. "Casos de honra : honouring clandestine contracts and Italian novelle in early modern English and Spanish drama." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6318.

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This thesis argues that the popularity of the clandestine marriage plot in English and Spanish drama following the Reformation corresponds closely to developments and emerging conflicts in European matrimonial law. My title, ‘casos de honra,' or ‘honour cases', unites law and drama in a way that captures this argument. Taken from the Spanish playwright Lope de Vega's El arte nuevo (1609), a treatise on his dramatic practice, the phrase has been understood as a description of the honour plots so common in Spanish Golden Age drama, but ‘casos' [cases] has a further, and related, legal meaning. Casos de honra are cases touching honour, whether portrayed on stage or at law, a European rather than a strictly Spanish phenomenon, and clandestine marriages are one such example. I trace the genealogy of three casos de honra from their recognisable origins in Italian novelle, through Italian, French, Spanish, and English adaptations, until their final early modern manifestations on the English and Spanish stage. Their seeming differences, and often radical divergences in plot can be explained with reference to their distinct, but related, legal concerns.

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Lublin, Robert I. "Costuming the Shakespearean stage visual codes of representation in early modern theatre and culture /." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1060614385.

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Thesis (Ph. D.)--Ohio State University, 2004.
Document formatted into pages; contains x, 256 p. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2005 Aug. 11.

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Coffey, Alexandra. "Höllischer Ehrgeiz und himmlische Macht : Herrschafts- und Magiediskurse im Theater der englischen Renaissance /." München : Utz, 2009. http://d-nb.info/988230267/04.

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Keller, Michelle Margo 1954. "A study of pathological narcissism in Renaissance English tragic drama." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/289178.

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The central conviction of this dissertation is that the tenets of the psychiatric medical category, pathological narcissism, explain, in a way other psychological interpretations have not adequately addressed, why the main characters in several important English Renaissance tragic dramas become enmeshed in difficulty and come to ruin. Evidence in the plays themselves invites the use of this particular interpretive category. William Shakespeare's Coriolanus in Coriolanus, Vindice in Cyril Tourneur's The Revenger's Tragedy, Edward in Christopher Marlowe's Edward II, and John Frankford in Thomas Heywood's A Woman Killed with Kindness are representative of tragic characters who suffer from a lack of a psychologically integrated self--the least common denominator of narcissistic disturbance. Pathological narcissism is not a hedonistic orientation toward self-gratification, nor is it self-love, but rather, it refers to an impoverished state of being that is self-misconstrued in a special way. Lacking a stable self-configuration--a mental state that is experienced painfully and fearfully, narcissists engage in patterns of defensive, compensatory behaviors which include grandiose acting out, masochistic and sadistic functioning, aggressive and vengeful conduct, mental splitting, and inappropriate psychological mirroring. The terrible irony of these defensive strategies is that, because they are so offensive and alienating to others, they isolate the narcissist from relational contact and impel him back toward the sense of self-incohesion that he seeks to avoid. In each chapter, I examine how pathological narcissism manifests itself in the four tragic protagonists under consideration. Coriolanus's exaggerated focus on himself renders him a completely unsuitable candidate for the office of consul. Vindice revives himself from mental paralysis through narcissistic defensive activities which cause him self-destructively to collapse back onto himself. Edward II possesses a self that is so narrowly conceived that it cannot survive the rigors of monarchical office. John Frankford lives in the narcissistic psychological prison of perfectionism that will be his undoing. Also in each chapter, I suggest how Ovid's treatment of Narcissus in the Metamorphoses, for whom the psychological condition of pathological narcissism is named, provides a gloss on the disastrous course each protagonist's life takes.

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Books on the topic "English Renaissance theatre"

1

Mulryne, J. R., and Margaret Shewring, eds. Theatre of the English and Italian Renaissance. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21736-6.

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C. W. R. D. Moseley. English Renaissance drama: A very brief introduction to theatre and theatres in Shakespeare's time. Tirril [England]: Humanities-Ebooks, 2008.

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C. W. R. D. Moseley. English Renaissance drama: A very brief introduction to theatre and theatres in Shakespeare's time. Tirril [England]: Humanities-Ebooks, 2008.

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C. W. R. D. Moseley. English Renaissance drama: A very brief introduction to theatre and theatres in Shakespeare's time. Tirril [England]: Humanities-Ebooks, 2008.

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Janicka-Swiderska, Irena. Dance in drama: Studies in English Renaissance and modern theatre. Łódz: Wydawnictwo Uniwersytetu Łódzkiego, 1992.

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Orrell, John. The human stage: English theatre design, 1567-1640. Cambridge [England]: Cambridge University Press, 1988.

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Renaissance drama in action: An introduction to aspects of theatre practice and performance. London: Routledge, 1998.

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Renaissance revivals: City comedy and revenge tragedy in the London theatre, 1576-1980. Chicago: University of Chicago Press, 1986.

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Theatre and humanism: English drama in the sixteenth century. Cambridge: Cambridge University Press, 1999.

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Burt, Richard A. "'Tis writ by me": Massinger's The Roman actor and the politics of reception in the English renaissance theatre. (Baltimore, Md., etc: Published by the Johns Hopkins University Press in cooperation with the Association for Theatre in Higher Education (etc.), 1988.

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Book chapters on the topic "English Renaissance theatre"

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Bruster, Douglas. "4. Theatre and Drama." In Handbook of English Renaissance Literature, edited by Ingo Berensmeyer, 89–107. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110444889-005.

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Booth, Roy. "Caroline Theatre." In A Companion to English Renaissance Literature and Culture, 556–64. Malden, MA, USA: Blackwell Publishers Ltd, 2007. http://dx.doi.org/10.1002/9780470998731.ch46.

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Booth, Roy. "Caroline Theatre." In A New Companion to English Renaissance Literature and Culture, 166–75. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444319019.ch51.

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Andrews, Richard. "Scripted Theatre and the Commedia Dell’Arte." In Theatre of the English and Italian Renaissance, 21–54. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21736-6_2.

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Anderson, Michael. "The Changing Scene: Plays and Playhouses in the Italian Renaissance." In Theatre of the English and Italian Renaissance, 3–20. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21736-6_1.

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Peacock, John. "Ben Jonson’s Masques and Italian Culture." In Theatre of the English and Italian Renaissance, 73–94. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21736-6_4.

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de Panizza Lorch, Maristella. "Honest Iago and the Lusty Moor: the Humanistic Drama of Honestas/Voluptas in a Shakespearean Context." In Theatre of the English and Italian Renaissance, 204–20. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21736-6_10.

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Salingar, Leo. "Elizabethan Dramatists and Italy: A Postscript." In Theatre of the English and Italian Renaissance, 221–37. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21736-6_11.

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Bryce, Judith. "The Theatrical Activities of Palla di Lorenzo Strozzi in Lyon in the 1540s." In Theatre of the English and Italian Renaissance, 55–69. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21736-6_3.

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Parker, Brian. "Jonson’s Venice." In Theatre of the English and Italian Renaissance, 95–112. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21736-6_5.

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