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Lost Plays in Shakespeare's England examines assumptions about what a lost play is and how it can be talked about; how lost plays can be reconstructed, particularly when they use narratives already familiar to playgoers; and how lost plays can force us to reassess extant plays, particularly through ideas of repertory studies.
Explores Shakespeare's plays in their most immediate context: the hundreds of plays known to original audiences, but lost to us.
“A book for anyone who loves Shakespeare . . . One of the most scandalous and potentially revolutionary theories about the authorship of these immortal works.” —Mark Rylance, First Artistic Director of Shakespeare’s Globe Theatre It is perhaps the greatest story never told: the truth behind the most enduring works of literature in the English language, perhaps in any language. Who was William Shakespeare? Critically acclaimed historian Charles Beauclerk has spent more than two decades researching the authorship question, and if the plays were discovered today, he argues, we would see them for what they are—shocking political works written by a court insider, someone with the monarch’s indulgence, shielded from repression in an unstable time of armada and reformation. But the author’s identity was quickly swept under the rug after his death. The official history—of an uneducated merchant writing in near obscurity, and of a virginal queen married to her country—dominated for centuries. Shakespeare’s Lost Kingdom delves deep into the conflicts and personalities of Elizabethan England, as well as the plays themselves, to tell the true story of the “Soul of the Age.” “Beauclerk’s learned, deep scholarship, compelling research, engaging style and convincing interpretation won me completely. He has made me view the whole Elizabethan world afresh. The plays glow with new life, exciting and real, infused with the soul of a man too long denied his inheritance.” —Sir Derek Jacobi
This book establishes new information about the likely content of ten lost plays from the period 1580-1642. These plays’ authors include Nashe, Heywood, and Dekker; and the plays themselves connect in direct ways to some of the most canonical dramas of English literature, including Hamlet, King Lear, The Changeling, and The Duchess of Malfi. The lost plays in question are: Terminus & Non Terminus (1586-8); Richard the Confessor (1593); Cutlack (1594); Bellendon (1594); Truth's Supplication to Candlelight (1600); Albere Galles (1602); Henry the Una (c. 1619); The Angel King (1624); The Duchess of Fernandina (c. 1630-42); and The Cardinal's Conspiracy (bef. 1639). From this list of bare titles, it is argued, can be reconstructed comedies, tragedies, and histories, whose leading characters included a saint, a robber, a Medici duchess, an impotent king, at least one pope, and an angel. In each case, newly-available digital research resources make it possible to interrogate the title and to identify the play's subject-matter, analogues, and likely genre. But these concrete examples raise wider theoretical problems: What is a lost play? What can, and cannot, be said about objects in this problematic category? Known lost plays from the early modern commercial theatre outnumber extant plays from that theatre: but how, in practice, can one investigate them? This book offers an innovative theoretical and practical frame for such work, putting digital humanities into action in the emerging field of lost play studies.
As early modernists with an interest in the literary culture of Shakespeare’s time, we work in a field that contains many significant losses: of texts, of contextual information, of other forms of cultural activity. No account of early modern literary culture is complete without acknowledgment of these lacunae, and although lost drama has become a topic of increasing interest in Shakespeare studies, it is important to recognize that loss is not restricted to play-texts alone. Loss and the Literary Culture of Shakespeare’s Time broadens the scope of the scholarly conversation about loss beyond drama and beyond London. It aims to develop further models and techniques for thinking about lost plays, but also of other kinds of lost early modern works, and even lost persons associated with literary and theatrical circles. Chapters examine textual corruption, oral preservation, quantitative analysis, translation, and experiments in “verbatim theater”, plus much more.
This book is open access and available on www.bloomsburycollections.com. It is funded by Knowledge Unlatched. Rethinking Theatrical Documents brings together fifteen major scholars to analyse and theorise the documents, lost and found, that produced a play in Shakespeare's England. Showing how the playhouse frantically generated paratexts, it explores a rich variety of entangled documents, some known and some unknown: from before the play (drafts, casting lists, actors' parts); during the play (prologues, epilogues, title-boards); and after the play (playbooks, commonplace snippets, ballads) – though 'before', 'during' and 'after' intertwine in fascinating ways. By using collective intervention to rethink both theatre history and book history, it provides new ways of understanding plays critically, interpretatively, editorially, practically and textually.
First published in 1971. In writing this text the author’s intent has been as much to tell stories of life and people in Shakespeare's day as to add to our knowledge of the Elizabethan stage and drama or to record texts rescued from their burial in legal evidences and now submitted to the unforeseen test of literary criticism, which they can scarcely abide with equanimity.
Gregory Doran's account of his quest to re-discover Cardenio, the lost play written by Shakespeare and John Fletcher. A thrilling act of literary detection that takes him from the Bodleian Library in Oxford, via Cervantes' Spain to the stage of the Royal Shakespeare Company in Stratford. Fully illustrated throughout, Shakespeare's Lost Play tells a fascinating story, which, like the play itself, will engross Shakespeare buffs and theatregoers alike. Doran's much-praised production of Cardenio for the Royal Shakespeare Company marked the culmination of years spent searching for a famously 'lost' play co-authored by William Shakespeare. In this book, Doran takes us with him on his quest to unearth every extant clue and then into the rehearsal room as he pieces together a play unseen since its first performance in 1613. The result, as the Guardian attested, is 'an extraordinary and theatrically powerful piece, one that should both please audiences and keep academic scholars in work for years'.
The first comprehensive history of libels in Elizabethan England, this interdisciplinary study traces the crime across law, literature, and culture, focusing especially on the theater. Ranging from Shakespeare to provincial pageantry, it provides a fresh account of early modern drama and the viral media ecosystem springing up around it.