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This is the sixth volume of a detailed play-by-play catalogue of drama written by English, Welsh, Irish, and Scottish authors during the 110 years between the English Reformation to the English Revolution, covering every known play, extant and lost, including some which have never before been identified. It is based on a complete, systematic survey of the whole of this body of work, presented in chronological order. Each entry contains comprehensive information about a single play: its various titles, authorship, and date; a summary of its plot, list of its roles, and details of the human and geographical world in which the fictional action takes place; a list of its sources, narrative and verbal, and a summary of its formal characteristics; details of its staging requirements; and an account of its early stage and textual history.
Shakespeare is usually set apart from his contemporaries, in kind no less than quality. This book, the long-awaited final volume in the Oxford History of English Literature, sees Elizabethan drama as drawn together by a shared need to deal with contradictory pressures from heterogeneous audiences, censorious authorities, profit driven managers, and authors looking for classic status and social esteem. Hunter follows the compromises and contradictions of the Elizabethan repertory, examining how Shakespeare and his fellow dramatists were able to move easily from vulgar realism to poetic transcendence.
Volume 4 covers the years 1598-1602 during which dramatic satire emerged, as well as the opening of the original Globe theatre in London.
Volume 3 covers the years 1590-1597 and sees the start of Shakespeare's career as a dramatist.
This is the first complete history of the theater company in which Shakespeare acted and which staged all his plays. Created in 1594, the company became the King's Men in 1603 and ran for forty-eight years up to the closure of 1642. Andrew Gurr provides a study of the company's activities, explores its social role in its time and examines its repertoire of plays. This comprehensive illustrated history will be an indispensable guide for anyone who wants to know more about the conditions under which Shakespeare and his successors worked.
This is the fourth volume of a detailed play-by-play catalogue of drama written by English, Welsh, Irish, and Scottish authors during the 110 years between the English Reformation to the English Revolution, covering every known play, extant and lost, including some which have never before been identified. It is based on a complete, systematic survey of the whole of this body of work, presented in chronological order. Each entry contains comprehensive information about a single play: its various titles, authorship, and date; a summary of its plot, list of its roles, and details of the human and geographical world in which the fictional action takes place; a list of its sources, narrative and verbal, and a summary of its formal characteristics; details of its staging requirements; and an account of its early stage and textual history. Volume IV covers the period during which dramatic satire emerged, as well as the opening of the original Globe theatre in London.
The drama of the English Middle Ages is perennially popular with students and theatre audiences alike, and this is an updated edition of a book which has established itself as a standard guide to the field. The Cambridge Companion to Medieval English Theatre, second edition continues to provide an authoritative introduction and an up-to-date, illustrated guide to the mystery cycles, morality drama and saints' plays which flourished from the late fourteenth to the mid-sixteenth centuries. The book emphasises regional diversity in the period and engages with the literary and particularly the theatrical values of the plays. Existing chapters have been revised and updated where necessary, and there are three entirely new chapters, including one on the cultural significance of early drama. A thoroughly revised reference section includes a guide to scholarship and criticism, an enlarged classified bibliography and a chronological table.
"The Steve Jobs of the Shakespeare community… A once in a generation–or several generations–find.” –The New York Times Dennis McCarthy presents the gripping true story of Sir Thomas North, the scholar-knight who transformed the most thrilling and shocking moments of his life into plays later adapted by Shakespeare. Working from a series of manuscript discoveries that have garnered worldwide attention (including coverage in The New York Times, The Guardian, Time Magazine, Los Angeles Times, Boston Globe Magazine, U.S. News, etc.), McCarthy provides numerous proofs that North wrote more than thirty plays, mostly for the Earl of Leicester’s theater troupe, years before Shakespeare reached London. Then, in the 1590s and early 1600s, Shakespeare reworked North’s plays for the public stage. Newfound proofs of North’s authorship include Shakespearean passages and scenes found in his unpublished handwritten travel journal. North wrote the diary to record his wondrous experiences in Italy—and then transformed some of his entries into elaborate set-pieces in the plays. North also used certain texts from the North family library as a playwright’s workbook, writing out marginal comments in the books to underscore the events, characters, and speeches he intended to dramatize. One of these books includes North’s entire outline of the historical plot of a Shakespeare play. Perhaps most significantly, Thomas North demonstrates that North actually lived the plays before he wrote them and that even many of the most iconic scenes in the canon derive from striking events that North actually experienced. The book also reveals for the first time North’s historical involvement in the Essex Rebellion and why neither he nor Shakespeare was punished for the treasonous play, Richard II. Thomas North also examines many hundreds of lines and passages that have been taken from North’s published prose translations and recycled in Shakespeare’s plays, most of which are unique, occurring nowhere else in the history of English literature. As the book confirms, no one has borrowed more from an earlier writer than Shakespeare has from North, and it is not even close. Finally, Thomas North includes documentation indicating North was a playwright for Leicester’s Men and explains why so many playwrights of the era (like North) never published their plays. It also shows how, to meet increasing public demand, the commercial theater companies began to revive plays previously performed at court, private manors, and universities. As part of this London-wide pattern of revivals, Shakespeare purchased and reworked North’s old dramas, resulting in the most celebrated works of literature in English history. In truth, scholars have always known that Shakespeare frequently adapted old plays. They just never knew who had written them. With Thomas North, the mysteries that have plagued Shakespeare studies for centuries now finally have an answer.