Journal articles: '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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Young Ji Jeon. "Cross-dressing and Homosexuality - With a Focus on English Renaissance Theatre and Japanese Edo Kabuki." Journal of korean theatre studies association 1, no. 68 (November 2018): 141–71. http://dx.doi.org/10.18396/ktsa.2018.1.68.005.

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Güvenç, Sıla Şenlen. "‘Yae, Nae, or Dinnae Ken’: Dramatic Responses to the Scottish Referendum and Theatre Uncut." New Theatre Quarterly 33, no. 4 (October 11, 2017): 371–85. http://dx.doi.org/10.1017/s0266464x17000501.

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In this paper Sıla Şenlen Güvenç surveys the key plays staged in the run-up to the Scottish Independence Referendum of September 2014, with special emphasis on the six Theatre Uncut plays – Rob Drummond's Party Pieces, A. J. Taudevin's The 12.57, and Lewis Hetherington's The White Lightning and the Black Stag (composed in 2013), and Davey Anderson's twin plays, Fear and Self-Loathing in West Lothian and Don't Know, Don't Care, and Kieran Hurley's Close from 2014. Written prior to the referendum and performed together for the first time at the Edinburgh Fringe Festival in 2014, these plays became even more meaningful with developing events in the United Kingdom, especially Brexit and the potential for a second independence referendum in Scotland. The plays reflect many of the issues discussed in both the ‘Yes Scotland’ and ‘Better Together’ campaigns. Sıla Şenlen Güvenç is currently Associate Professor at Ankara University's Department of English Language and Literature. Besides articles and theatre reviews on English drama, she is the author of ‘Words as Swords’: Verbal Violence as a Construction of Authority in Renaissance and Contemporary English Drama (2009) and ‘The World is a Stage, but the Play is Badly Cast’: British Political Satire in the Neo-classical Period (in Turkish, 2014).

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Schmitt, Natalie Crohn. "The Style of Commedia dell'Arte Acting: Observations Drawn from the Scenarios of Flaminio Scala." New Theatre Quarterly 28, no. 4 (November 2012): 325–33. http://dx.doi.org/10.1017/s0266464x12000620.

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The only collection of commedia dell'arte scenarios to have been published in the sixteenth and seventeenth centuries is that of the actor-manager Flaminio Scala, in 1611. This can serve, among other things, as a primary source of information about the style of acting in commedia dell'arte performance in its golden age, from 1570 to 1630. While English drama of the same period provides us, in the main, with only the words the actors were to have spoken, the Scala collection rarely provides us with these, but rather, with a wealth of descriptions of actions and emotions. These descriptions enable us to make inferences about the style in which they were acted – that is, about the particular way in which the stories the actors presented were said, performed, or expressed. Natalie Crohn Schmitt is Professor of Theatre, Emerita, University of Illinois at Chicago. She has published on commedia dell'arte in Viator, Renaissance Drama, and Text and Performance Quarterly, and previously in New Theatre Quarterly on Stanislavsky (NTQ 8), on theatre in its historic moment (NTQ 23), and on John Cage (NTQ 41).

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BEECHER, D. A. "ANTIOCHUS AND STRATONICE: THE HERITAGE OF A MEDICO-LITERARY MOTIF IN THE THEATRE OF THE ENGLISH RENAISSANCE." Seventeenth Century 5, no. 2 (September 1990): 113–32. http://dx.doi.org/10.1080/0268117x.1990.10555306.

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Gossett, Philip. "Becoming a citizen: The chorus in Risorgimento opera." Cambridge Opera Journal 2, no. 1 (March 1990): 41–64. http://dx.doi.org/10.1017/s0954586700003104.

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Just as politics can be analysed as a cultural and symbolic enterprise (that is, as theatre in the broadest sense), so too can theatre or opera (in a narrower sense) be analysed as political. Jonathan Dollimore identifies various conflicting processes at work in Renaissance English theatre: the ‘consolidation’ of power by a dominant order; the ‘subversion of that order’ and the ‘containment of ostensibly subversive pressures’. We need not accept Dollimore's essentially Marxist analysis of these processes in order to recognise the validity of his assertion that ‘the theatre [is] a prime location for the representation and legitimation of power’. But the way such power is consolidated, subverted or contained depends on the political and social systems in which the theatre operates. The issues are complex enough when one focuses on plays produced in Elizabethan or Jacobean London. They become even more difficult to sort out when single works or groups of related works are performed over a period of time in various locations, each with its own societal configuration, as in the different political entities that comprised the Italian peninsula during the first half of the nineteenth century (to which might be added the other European and even American audiences to which they were played). Under such circumstances, how can we measure the political implications of these works? Where does their meaning reside? How does that meaning change as a function of time or geography?

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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." Theatre Journal 40, no. 3 (October 1988): 332. http://dx.doi.org/10.2307/3208323.

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Horton, Craig Allan. "The Renaissance Theatre: Texts, Performance, Design. Vol. 1, English and Italian Theatre. Vol. 2, Design, Image and Acting (review)." Parergon 18, no. 3 (2001): 157–60. http://dx.doi.org/10.1353/pgn.2011.0153.

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Hopkins, Lisa. "Innovation and experiment in Webster’s The Duchess of Malfi." Voprosy literatury, no. 2 (July 29, 2020): 157–66. http://dx.doi.org/10.31425/0042-8795-2020-2-157-166.

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This essay argues that Webster was more than just the dramatist ‘much possessed by death’ depicted by T. S. Eliot but a bold and innovative writer. Taking advantage of the emergence of an exceptionally gifted boy actor, he brought a new and more realistic type of woman to the English Renaissance stage, and also two unusually disturbed and psychologised male characters, one who thinks he is a wolf and one who looks into water and sees a monster. He also benefited from the King’s Men’s move to an indoor theatre, the Blackfriars, when the Globe burned down soon after the first performances of The Duchess of Malfi, not least because one of those who lived near the new theatre had been Lady Arbella Stuart, whose story chimed very closely with that of the Duchess. Finally he astonished by the richness of his imagery, which together with his recurrent use of sententiae (pithy sayings) creates a sense that the play has a language all of its own. Eliot was right to identify Webster as violent, but he was also much more, and in the Duchess herself he has given us a moving and haunting female hero.

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Mozharivska, Iryna. "Intertextuality and intermediality of modern drama-parable (based on play “The academy of laugh” by Koki Mitany)." LITERARY PROCESS: methodology, names, trends, no. 15 (2020): 63–70. http://dx.doi.org/10.28925/2412-2475.2020.15.10.

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The article deals with the problem of finding the manifestations of intertextual reminisces in theEnglish drama of the Renaissance in the context of contemporary drama-parable consideration. In the process of analysing the play, the author draws attention to the context of intermedial connections of literature with theatrical art, considers the implementation of the principle of “game in play”, traces the manifistations of intercultural interaction between Eastern and Western culture. The events in the drama take place against a backdrop of complex historical events — The Japan-China War. The work contains references to the intertextual elements of the dramatic works of the English playwright William Shakespeare (the tragedies “Romeo and Juliet”, “Hamlet” and “Magbeth”. The comic interpretation of the play is a juxtaposition of cultures and literary genres. The author applies the concept «the theatre in the theatre», structures the work minimally through dialogue between the author and the censor. Intermediality acts as a system of interaction of one kind of art in the works of another and reveals mechanisms of mutual influence of kinds of art in the artistic culture of this or that historical period.

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Braund, Susanna. "TABLEAUX AND SPECTACLES: APPRECIATION OF SENECAN TRAGEDY BY EUROPEAN DRAMATISTS OF THE SIXTEENTH AND SEVENTEENTH CENTURIES." Ramus 46, no. 1-2 (December 2017): 135–52. http://dx.doi.org/10.1017/rmu.2017.7.

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Did Sophocles or Seneca exercise a greater influence on Renaissance drama? While the twenty-first century public might assume the Greek dramatist, in recent decades literary scholars have come to appreciate that the model of tragedy for the Renaissance was the plays of the Roman Seneca rather than those of the Athenian tragedians. In his important essay on Seneca and Shakespeare written in 1932, T.S. Eliot wrote that Senecan sensibility was ‘the most completely absorbed and transmogrified, because it was already the most diffused’ in Shakespeare's world. Tony Boyle, one of the leading rehabilitators of Seneca in recent years, has rightly said, building on the work of Robert Miola and Gordon Braden in particular, that ‘Seneca encodes Renaissance theatre’ from the time that Albertino Mussato wrote his neo-Latin tragedy Ecerinis in 1315 on into the seventeenth century. The present essay offers a complement and supplement to previous scholarship arguing that Seneca enjoyed a status at least equal to that of the Athenian tragedians for European dramatists of the sixteenth and seventeenth centuries. My method will be to examine two plays, one in French and one in English, where the authors have combined dramatic elements taken from Seneca with elements taken from Sophocles. My examples are Robert Garnier's play, staged and published in 1580, entitled Antigone ou La Piété (Antigone or Piety), and the highly popular play by John Dryden and Nathaniel Lee entitled Oedipus, A Tragedy, staged in 1678 and published the following year.

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Fabiszak, Jacek. "Sex-speare vs. Shake-speare: On Nudity and Sexuality in Some Screen and Stage Versions of Shakespeare’s Plays." Text Matters, no. 3 (November 1, 2013): 203–18. http://dx.doi.org/10.2478/texmat-2013-0035.

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The article attempts to address the issue of nudity and eroticism in stage and screen versions of Shakespeare’s plays. Elizabethan theatrical conventions and moral and political censorship of the English Renaissance did not allow for an explicit presentation of naked bodies and sexual interactions on stage; rather, these were relegated to the verbal plane, hence the bawdy language Shakespeare employed on many occasions. Conventions play a significant role also in the present-day, post-1960s and post-sexual revolution era, whereby human sexuality in Western culture is not just alluded to, but discussed and presented in an open manner. Consequently, nudity on stage and screen in versions of Shakespeare’s plays has become more marked and outspoken. Indeed, in both filmic and TV productions as well as stage performances directors and actors more and more willingly have exposed human body and sexuality to the viewer/spectator. My aim is to look at such instances from the perspective of realism and realistic conventions that the three media deploy and the effect nudity/sex can have on the recipient. The conclusion is that theatre is most conventional and stark realism and directness of the message need to be carefully dosed. Similarly to the theatre, television, more specifically television theatre, is, too, a most direct genre, as television is inherently a live medium, the broadcasts of which occur here and now, in the present tense (ideally). Film is markedly different from the two previous forms of art: it is narrated in the past tense, thus creating a distance between what is shown and the viewer, and allowing for more literalness. Naturally, particular cases discussed in the article go beyond these rather simple divisions.

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Arakkal, Rinshila. "From Birnamwood to Bollywood: A View of the Cinematographic Adaptation of Macbeth into Maqbool." International Journal of English and Comparative Literary Studies 1, no. 1 (November 22, 2020): 1–20. http://dx.doi.org/10.47631/ijecls.v1i1.144.

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Purpose: The study aims to explore the similarities and dissimilarities between William Shakespeare’s Macbeth and its film adaptation Maqbool by Vishal Bhardwaj. The study also aims to compare both the film and the play in terms of politics and power from a psychoanalytic perspective. Methodology/ Approach: This study is based on thematic analysis and the main changes when the original play is adapted to film, in order to check the variation from stage to screen. Adaptation theory, Sigmund Freud’s psychoanalysis theory are used in this analysis. Bollywood movie Maqbool (2003) by director Vishal Bhardwaj and William Shakespeare’s great tragedy Macbeth (1606) are used as primary sources for this analysis. Findings: The result of the analysis indicates that film and drama are entirely different. When an original play is adapted into film, there are many merits and demerits.Shakespeare mounded more on poetic language than on spectacle and other scenic devices to create the necessary emotional effect. The Elizabethan theatre gores were more audiences than spectators. But the modern spectators habituated to the computer-generated technique of cinematography expect something considerably different. The result is that when the text of the play is converted into a screenplay, there will be a remarkable reduction in the number of spoken words because mainstream cinema depends for its effect largely on visual rather than dialogue. However, the director maintained the originality of play despite the additions and reductions. Conclusion: The paper throws light on the main changes from English Renaissance theatre to contemporary modern world or theatre. It depicts the Psychological behavioural differences and the power and political structures of the two different periods. The paper suggests that film adaptation is an effective and attractive tool to maintain the value and to understand the original text.

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Matei-Chesnoiu, Monica. "The Eye and Refractive Geography in Pericles." Linguaculture 2017, no. 1 (June 1, 2017): 35–51. http://dx.doi.org/10.1515/lincu-2017-0004.

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AbstractThe paper highlights the cultural constructedness of vision in the early modern period by drawing on heteroglossic representations of the eye in early English texts, ranging from anatomy and physiology treatises to philosophy, poetry, emblems, and geometrical perspective in astronomy and land surveying. The argument is based on the association of word and image in early modern representations of space, mirrored in Ortelius’s notion of geography as the eye of history, which shows the importance of the visual element in the system of acquisition and transmission of knowledge in the Renaissance. In the particular case ofPericles, the play unfolds over a vast international geography and creates powerful visual effects. The imaginative spatial conventions of the play can be assimilated to the system of geometrical projection on which maps depended. Locations are used according to a geometric triangulation system to refract the imaginative and spatial vision. As in emblems, the locations unfolding in the play give the action meaning in the process of involved spectatorship. Moreover, in the theatre, the lone monocular beholder of mathematical linear perspective is multiplied into a choric array of spectators.

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Kallendorf, Hilaire. "Jan Frans van Dijkhuizen. Devil Theatre: Demonic Possession and Exorcism in English Renaissance Drama, 1558–1642. Studies in Renaissance Literature. Cambridge: D. S. Brewer, 2007. x + 220 pp. index. bibl. $85. ISBN: 978-1-84384-114-2." Renaissance Quarterly 61, no. 2 (2008): 682–84. http://dx.doi.org/10.1353/ren.0.0090.

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Aebischer, Pascale. "Performing Heritage: Research, Practice and Innovation in Museum Theatre and Live Interpretation, and: The English Renaissance in Popular Culture: An Age for All Time, and: Filming and Performing Renaissance History (review)." Shakespeare Quarterly 63, no. 2 (2012): 283–87. http://dx.doi.org/10.1353/shq.2012.0018.

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Baugh, Christopher. "Christopher Cairns, ed. The Renaissance Theatre, Texts, Performance, Design: Vol. 1, English and Italian Theatre Vol. 2, Design, Image, and ActingAldershot: Ashgate1999. £55.00. Vol 1: xi, 206 p. Vol 2: x, 130 p. ISBN 0-7546-0006-8 and 0-7546-0007-6." New Theatre Quarterly 17, no. 2 (May 2001): 195. http://dx.doi.org/10.1017/s0266464x00014597.

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Carter, Patrick. "Alexandra F. Johnston and Wim Hüsken, eds. English Parish Drama. (Medieval and Early Renaissance Theatre and Drama, vol. 1.) Amsterdam: Rodophi B.V.1996. Pp. 157. n.p. ISBN 90-420-0060-0." Albion 30, no. 1 (1998): 93–94. http://dx.doi.org/10.2307/4052396.

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Henze, Catherine A. "Katrine K. Wong. Music and Gender in English Renaissance Drama. Routledge Advances in Theatre and Performance Studies 25. New York: Routledge, 2013. xvi + 216 pp. $125. ISBN: 978-0-415-80670-1." Renaissance Quarterly 67, no. 1 (2014): 358–59. http://dx.doi.org/10.1086/676267.

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Dolan, Frances E., and Katharine Eisaman Maus. "Inwardness and Theater in the English Renaissance." Shakespeare Quarterly 48, no. 4 (1997): 492. http://dx.doi.org/10.2307/2871268.

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Malin, Peter, François Laroque, Frédéric Delord, Ruth Morse, Andy Kesson, and Pia Brinzeu. "Book Reviews: A Companion to Shakespeare and Performance, Secret Shakespeare. Studies in Theatre, Religion and Resistance, Cosmetics in Shakespearean and Renaissance Drama, Shakespeare in the Romanian Cultural Memory, Shakespeare in Nineteenth-Century Romania, Renaissance & Reformations: An Introduction to Early Modern English Literature, John Dee's Occultism: Magical Exaltation through Powerful Signs." Cahiers Élisabéthains: A Journal of English Renaissance Studies 71, no. 1 (May 2007): 61–76. http://dx.doi.org/10.7227/ce.71.1.8.

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Khan, Kehkashan. "RHYTHMIC BEAUTY IN THE PLAYS OF RENAISSANCE." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3397.

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The Theatres were very much in vogue in the Elizabethan England. For the spectators, theatres were not merely places of amusement & entertainment but also of social gathering & instruction. Both Marlowe & Shakespeare are great dramatists & poets of Elizabethan age. Their poetry & music lend a unique power & beauty to their plays.Marlowe, the predecessor of Shakespeare, infused his own soul into his characters like a lyric poet. He is regarded as the Morning Star of Song & the first & foremost lyricist of English Stage. He poetized the English dramas. His play Doctor Faustus reads more like a poem than a drama. His passage on Helen is one of the loveliest of lyrics. In its idealization of beauty, in its riot of colour, in its swift transition from one myth to another, in music & melody, in its passionate exuberance & abundance the passage remains unsurpassed.

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Norden, Larisa L., and Valeria S. Miller. "THE IRISH RENAISSANCE IN FACES." Vestnik Chuvashskogo universiteta, no. 2 (June 25, 2021): 133–41. http://dx.doi.org/10.47026/1810-1909-2021-2-133-141.

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The end of the XIX – beginning of the XX centuries is the efflorescence period of national culture in Ireland. In historiography, this time was named the Irish Renaissance. Its bright representatives and organizations promoted national ideas, tried to restrain verbal aggression from the English language, to revive self-consciousness of their compatriots, developed sports, literature, theater, musical culture, and opposed the British way of life. The Irish Renaissance was not homogeneous. Some of its representatives tried to be politically neutral, tried to show their non-involvement in the existing political situation. The other held positions of active cultural nationalism. They believed that the Irish should revive their culture, cultivate their national identity, using a solid language base. They promoted the advantages of the Gaelic lifestyle as opposed to the English one. Still others proceeded from realistic attitudes, they saw narrow-mindedness of the Irish society, they were not afraid to point out its vices, and convinced in the need to include their homeland in the cultural space of the West. In addition to the multiplicity of options, the Irish Renaissance was an elitist phenomenon, since most of the society lived in poverty, did not have the opportunity to get a good education, and cared more about «daily bread». The most vivid appeals to the spiritual Revival of the nation were made in the theater and literature, the flourishing of which is associated with the names of W.B. Yeats, Lady Augusta Gregory, D. Joyce, D.M. Sing and others. To a large extent, the Irish Renaissance was a kind of reaction to modernism. It is quite possible to say that in Ireland there was a strong confrontation between the archaic and the modern. The important features of cultural Irish Renaissance were its anti-British orientation, the desire to emphasize national identity. The Hiberno-English version of English had similarities to Irish in some grammatical idioms, the inhabitants of the Emerald Isle, perhaps subconsciously, used the grammatical structures of their native language when speaking English. This linguistic tradition also influenced the Irish literature, which differed in various ways from the English literature.

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Bruegge, Andrew Vorder, and Dennis Kezar. "Solon and Thespis: Law and Theater in the English Renaissance." Sixteenth Century Journal 39, no. 4 (December 1, 2008): 1227. http://dx.doi.org/10.2307/20479217.

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Groves, B. "PETER HAPPE, Cyclic Form and the English Mystery Plays: A Comparative Study of the English Biblical Cycles and their Continental and Iconographic Counterparts. Pp. 349 (LUDUS: Medieval and Early Renaissance Theatre and Drama 7). Amsterdam and New York, Rodopi, 2004. Hardbound 80.00 (ISBN 90 420 1652 3); paperbound 30.00 (90 420 1662 0)." Notes and Queries 53, no. 2 (June 1, 2006): 224–25. http://dx.doi.org/10.1093/notesj/gjl042.

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Gutierrez, Nancy A., and Rebecca W. Bushnell. "Tragedies of Tyrants: Political Thought and Theater in the English Renaissance." Sixteenth Century Journal 22, no. 4 (1991): 808. http://dx.doi.org/10.2307/2542411.

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Knoppers, Laura Lunger, and Rebecca W. Bushnell. "Tragedies of Tyrants: Political Thought and Theater in the English Renaissance." Shakespeare Quarterly 47, no. 1 (1996): 81. http://dx.doi.org/10.2307/2871061.

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Thompson, Ann, Rebecca W. Bushnell, and Maurice Charney. "Tragedies of Tyrants: Political Thought and Theater in the English Renaissance." Modern Language Review 87, no. 4 (October 1992): 935. http://dx.doi.org/10.2307/3731450.

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Farajallah, Hana Fathi, and Amal Riyadh Kitishat. "The Self and the Other in Philip Massinger’s “The Renegado, the Gentleman of Venice”: A Structural View." Theory and Practice in Language Studies 9, no. 1 (January 1, 2019): 118. http://dx.doi.org/10.17507/tpls.0901.17.

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Renaissance England (1500-1660) is the most flourishing era of English history which testified the emergence of classical humanistic arts. Of course, drama is a literary genre that prospered, then, to entertain the interests of the Royal ruling families, especially Queen Elizabeth 1 (1558-1603) and her successor King James 1 (1603-25), as theatres were built in London along with dramatic performances held in the courts like masquerades. This study aims at showing the distortion of Islam in Philip Massinger’s “The Renegado or The Gentleman of Venice”, via tackling the theme of “the self and the other” and analyzing the structure of the play. Why not, and English Renaissance citizens love to watch the non-Christians, the misbelievers, humiliated and undermined. Massinger, among other Elizabethan dramatists like William Shakespeare, uses the art of tragicomedy to show the Western hatred, which is “the self”, of the Oriental Islam that is in turn “the other”.

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Womack, Peter. "The Comical Scene: Perspective and Civility on the Renaissance Stage." Representations 101, no. 1 (2008): 32–56. http://dx.doi.org/10.1525/rep.2008.101.1.32.

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Neo-Aristotelian "unity" is often represented as a set of rules in restraint of theatrical invention. In Serlio's drawing of the "comical scene," we can see the stage the rules imply, and so imagine "unity," not just as a negation of diversity, but as a positive theatrical form, with its own logic, energy, and politics. This in turn suggests what is at stake when Ben Jonson refuses the "Shakespearean" fluidity of the English theater.

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Prendergast, Maria Teresa M. "Inwardness and the Theater in the English Renaissance by Katharine Eisaman Maus." Comparative Drama 30, no. 3 (1996): 426–28. http://dx.doi.org/10.1353/cdr.1996.0021.

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Fastrup, Anne. "Handelsorientalisme i engelsk drama 1580-1630." K&K - Kultur og Klasse 45, no. 124 (December 31, 2017): 89–110. http://dx.doi.org/10.7146/kok.v45i124.103798.

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The early modern Turco-Barbary plays of Christopher Marlowe, Robert Daborne and Philippe Massinger bear witness to how deeply England’s expanding trade with the Muslim Ottoman Empire affected English literature. Within few decades, a new catalogue of dramatis personae such as Turcs, Barbary pirates, English sailors who had converted into Islam, Jewish merchants and go-betweens, began to appear on the scenes of London’s commercial theatres. The purpose of this article is to discuss the particular mercantile character of this renaissance orientalism. Through the demonstration of how the theatrical representation of the encounter with the Muslim world was based on a moral suspiciousness or scepticism toward the merchant whose commerce depended upon foreign markets in goods and money, this article attempts to understand why conversion to Islam and cross-cultural movement becomes such a prominent feature in the English Turco-Barbary plays.

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Tennenhouse, Leonard. "Tragedies of Tyrants: Political Thought and Theater in the English Renaissance. Rebecca W. Bushnell." Modern Philology 90, no. 3 (February 1993): 426–30. http://dx.doi.org/10.1086/392091.

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Mukherji, S. "DENNIS D. KEZAR (ed.). Solon and Thespis: Law and Theater in the English Renaissance." Review of English Studies 59, no. 240 (October 4, 2007): 465–67. http://dx.doi.org/10.1093/res/hgn010.

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Cousins, A. D. "Tragedies of tyrants: political thought and theater in the English Renaissance (review)." Parergon 9, no. 2 (1991): 142–43. http://dx.doi.org/10.1353/pgn.1991.0052.

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Bolus, Michael Peter. "Before Orientalism: London's Theatre of the East, 1576–1626. By Richmond Barbour. Cambridge Studies in Renaissance Literature and Culture. Cambridge University Press, 2003; pp. xii+238, 21 illus. $85 cloth. - Traffic and Turning: Islam and English Drama, 1579–1624. By Jonathan Burton. Newark: University of Delaware Press (Cranbury, NJ: AUP), 2005; pp. 319, $55 cloth." Theatre Survey 48, no. 1 (April 25, 2007): 185–90. http://dx.doi.org/10.1017/s0040557407000488.

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D'Amico, Jack. "The Treatment of Space in Italian and English Renaissance Theater: The Example of Gl'Ingannati and Twelfth Night." Comparative Drama 23, no. 3 (1989): 265–83. http://dx.doi.org/10.1353/cdr.1989.0002.

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Christoforidis, Michael. "Serenading Spanish Students on the Streets of Paris: The International Projection of Estudiantinas in the 1870s." Nineteenth-Century Music Review 15, no. 1 (February 7, 2017): 23–36. http://dx.doi.org/10.1017/s1479409817000064.

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Spanish estudiantina plucked string ensembles achieved immense popularity in the last two decades of the nineteenth century and were an important catalyst in the creation of the sonority of a variety of European and American popular musics. Such ensembles had precedents in Spanish student groups dating back to the Renaissance and the rondallas (or groupings of plucked instruments) that were associated with popular outdoor serenades. However, the modern estudiantina movement can be traced back to 1878, and was consciously framed as a modern historical construct. A large grouping of youths and former students, donning Renaissance student dress, decided to form a society to visit Paris during Carnival, on the eve of the 1878 Exposition Universelle. They took Paris by storm, performing in a variety of street settings, reinforcing the exotic stereotypes of serenading musicians associated with Spain, and bringing to life historical notions of the minstrel. In the decade that followed, the European performance contexts of the estudiantinas included theatres, outdoor venues and expositions, garden parties and salons – and they became fixtures of the music hall and the café chantant. This paper explores early English and French constructions of the estudiantina phenomenon, and how the groups were framed in the light of exotic street musics and prevailing tropes of Spain. It also examines how the outdoor performance settings of the estudiantinas were translated onto the theatrical stage.

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Whitworth, Charles, Guillaume Winter, Sophie Chiari-Lasserre, Guillaume Winter, Pierre Janton, Jean-Christophe Mayer, and Anne Dunan-Page. "Book Reviews: The Most Pleasant History of Ornatus and Artesia, Gwydonius, or the Card of Taney, “Euphues: The Anatomy of Wit” and “Euphues and His England”: An Annotated, Modern-Spelling Edition, Moderatus, Banquets Set Forth. Banqueting in English Renaissance Drama, Beggary and Theatre in Early Modern England, Le Vagabond dans l'Angleterre de Shakespeare, ou l'art de contrefaire à la ville et à la scène, the Anatomie of Abuses, John Knox: Reformation Rhetoric and the Traditions of Scots Prose (1490–1570), Secret Shakespeare, Studies in Theatre, Religion and Resistance, Shakespeare's Religious Allusiveness: Its Play and Tolerance, Glimpses of Glory: John Bunyan and English Dissent, Graceful Reading: Theology and Narrative in the Works of John Bunyan." Cahiers Élisabéthains: A Journal of English Renaissance Studies 66, no. 1 (November 2004): 77–93. http://dx.doi.org/10.7227/ce.66.1.8.

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Bevington, David. "Katharine Eisaman Maus. Inwardness and Theater in the English Renaissance. Chicago and London: University of Chicago Press, 1995. 222 pp. $37.50 cloth; $14.95 paper." Renaissance Quarterly 50, no. 2 (1997): 612–13. http://dx.doi.org/10.2307/3039212.

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Kastan, David Scott. "Rebecca W. Bushnell. Tragedies of Tyrants: Political Thought and Theater in the English Renaissance. Ithaca and London: Cornell University Press, 1990. xv + 195 pp. $29.95." Renaissance Quarterly 45, no. 1 (1992): 199–201. http://dx.doi.org/10.2307/2862861.

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Journal articles on the topic 'English Renaissance theatre'

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