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Books on the topic 'English Renaissance theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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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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2

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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3

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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4

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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5

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

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6

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

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7

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

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8

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

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9

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

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10

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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11

O'Connor, Ulick. Celtic dawn: A portrait of the Irish literary renaissance. Dublin: The Lilliput Press, 2013.

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12

All the Olympians: A biographical portrait of the Irish literary renaissance. New York: H. Holt, 1987.

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13

Carnival and theater: Plebeian culture and the structure of authority in Renaissance England. New York: Methuen, 1985.

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14

Inwardness and theater in the English Renaissance. Chicago: University of Chicago Press, 1995.

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15

Calendar of English Renaissance drama, 1558-1642. New York: Garland Pub., 1986.

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16

Dutton, Richard. Mastering the revels: The regulation and censorship of English Renaissance drama. London: Macmillan, 1991.

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17

Tragedies of tyrants: Political thought and theater in the English Renaissance. Ithaca: Cornell University Press, 1990.

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18

Barbarous play: Race on the English Renaissance stage. Minneapolis: University of Minnesota Press, 2008.

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19

Illustrations of the English stage, 1580-1642. Stanford, Calif: Stanford University Press, 1985.

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20

Kawachi, Yoshiko. Calendar ofEnglish Renaissance drama, 1558-1642. New York: Garland Pub., 1986.

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21

Joint enterprises: Collaborative drama and the institutionalization of the English Renaissance theater. Amherst: University of Massachusetts Press, 2004.

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22

De Zordo, Ornella, ed. Saggi di anglistica e americanistica. Florence: Firenze University Press, 2010. http://dx.doi.org/10.36253/978-88-6453-022-2.

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Saggi brings together the results of the research activity carried out in 2008 on the PhD course in English and American Studies (Department of Modern Philology, University of Florence). The seven contributions relate to the theatre, narrative, poetry, autobiographical writing and correspondence, and range from the Renaissance up to the present day, offering critical perspectives that go from the analysis of the postmodern identity to the phenomenon of rewriting, from reception theories to comparative studies, and from literary topography to computational linguistics. The heterogeneity of the material illustrates the free choice of the young academics who, in the climate of collaboration that was established, decided to address the technical and editorial aspects of the book as a team in the open access editorial workshop of the Department.

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23

English drama from Everyman to 1660: Performance and print. Tempe, Arizona: ACMRS, 2014.

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24

Drama of a nation: Public theater in Renaissance England and Spain. Ithaca: Cornell University Press, 1985.

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25

Knapp, Jeffrey. Shakespeare's tribe: Church, nation, and theater in Renaissance England. Chicago: University of Chicago Press, 2002.

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26

Shakespeare's tribe: Church, nation, and theater in Renaissance England. Chicago, Ill: University of Chicago Press, 2002.

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27

Dutton, Richard. Mastering the revels: The regulation and censorship of English Renaissance drama. Iowa City: University of Iowa Press, 1991.

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28

Dutton, Richard. Mastering the revels: The regulations and censorship of English Renaissance drama. London: Macmillan, 1991.

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29

Loomba, Ania. Gender, race, Renaissance drama. Manchester: Manchester University Press, 1989.

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30

Gender, race, Renaissance drama. Delhi: Oxford University Press, 1992.

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31

Pretty creatures: Children and fiction in the English Renaissance. Ithaca: Cornell University Press, 2007.

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32

Witmore, Michael. Pretty creatures: Children and fiction in the English Renaissance. Ithaca, NY: Cornell University Press, 2006.

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33

The English Renaissance stage: Geometry, poetics, and the practical spatial arts 1580-1630. New York: Oxford University Press, 2006.

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34

Renaissance earwitnesses: Rumor and early modern masculinity. New York, NY: Palgrave Macmillan, 2010.

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35

Hidden designs: The critical profession and Renaissance literature. New York: Methuen, 1986.

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36

Theatres and encyclopedias in early modern Europe. Cambridge: Cambridge University Press, 2002.

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37

The politics of performance in early Renaissance drama. Cambridge: Cambridge University Press, 1998.

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38

University of Tennessee, Knoxville. Marco Institute for Medieval and Renaissance Studies. Symposium. Spectacle and public performance in the late Middle Ages and the Renaissance. Leiden: Brill, 2006.

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39

The play of paradox: Stage and sermon in Renaissance England. Philadelphia: University of Pennsylvania Press, 1995.

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40

Religion and drama in early modern England: The performance of religion on the Renaissance stage. Farnham, Surrey, England: Ashgate, 2011.

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41

Williamson, Elizabeth, Jane Hwang Degenhardt, and Jane Hwang Degenhardt. Religion and drama in early modern England: The performance of religion on the Renaissance stage. Farnham, Surrey, England: Ashgate, 2011.

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42

Ohio State University. Libraries. Rare Books and Manuscripts Library. The Stanley J. Kahrl Renaissance and Restoration Drama Collection. Columbus, Ohio: Rare Books and Manuscripts Library of the Ohio State University Libraries, 2002.

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43

R, Mulryne J., and Shewring Margaret 1952-, eds. Theatre of the English and Italian Renaissance. Basingstoke: Macmillan, 1991.

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44

R, Mulryne J., Shewring Margaret, and Seminar on 'English and Italian Renaissance Theatre' (1987 : University of Warwick), eds. Theatre of the English and Italian Renaissance. New York: St. Martin's Press, 1991.

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45

Shakespeare, William. King Lear (Renaissance Theatre). Random House Audiobooks, 1994.

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46

Shakespeare, William. King Lear (Renaissance Theatre). Random House UK Ltd, 1994.

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47

Society for Renaissance Studies (Great Britain). The Renaissance Theatre: Texts, Performance, and Design: English and Italian Theatre. Ashgate Pub Ltd, 1999.

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48

Christopher, Cairns, ed. The Renaissance theatre: Texts, performance, design. Aldershot, Hants, England: Ashgate, 1999.

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49

100 great monologues from the Renaissance theatre. Lyme, NH: Smith and Kraus, 1994.

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50

Hutson, Lorna. Theatre. Edited by James Simpson and Brian Cummings. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199212484.013.0013.

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In the 1980s, New Historicist critics suggested that Renaissance theater was marked by the Reformation; specifically, that it expressed the vanishing of ritual and sacrament from ordinary people’s lives. More recently, critics like Sarah Beckwith have shown how pre-Reformation theater worked as ritual and sacrament by revealing the extent to which it was implicated in the jurisdiction of confession, penance and absolution for sin. This article revisits the question of how the Reformation abolition of annual mandatory confession affected theater. It qualifies both the New Historicist view of Renaissance theater as evacuated ritual and Beckwith’s view of the Protestant abolition of confession as an exteriorization of penance. Reading the first English Renaissance neoclassical comedy in English,Gammer Gurton’s Needle(c.1553-60), the article shows how profoundly its neoclassical concern with proof and evidence is tied in with a rejection of priestly confession and an invitation to parishioners and neighbors to be more skeptical and less credulous in believing the worst of one another.

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