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Presents examples of folk drama, and morality plays, and the early tragedies and comedies following classical models
The first comprehensive anthology of English drama in the long Tudor century, The Oxford Anthology of Tudor Drama contains sixteen of the most important plays from the long Tudor century (1485-1603) newly edited in accessible modern spelling.
The Oxford Handbook to Tudor Drama is the authoritative secondary text on Tudor drama. It both integrates recent important research across different disciplines and periods and sets a new agenda for the future study of Tudor drama, questioning a number of the central assumptions of previous studies. Balancing the interests and concerns of scholars in theatre history, drama, and literary studies, its scope reflects the broad reach of Tudor drama as a subject, inviting readers to see the Tudor century as a whole, rather than made up of artificial and misleading divisions between 'medieval' and 'renaissance', religious and secular, pre- and post-Shakespeare. The contributors, both the established leaders in their fields and the brightest young scholars, attend to the contexts, intellectual, theatrical and historical within which drama was written, produced and staged in this period, and ask us to consider afresh this most vital and complex of periods in theatre history. The book is divided into four sections: Religious Drama; Interludes and Comedies, Entertainments, Masques, and Royal Entries; and Histories and political dramas.
How was it possible for drama, especially biblical representations, to appear in the Christian West given the church's condemnation of the theatrum of the ancient world?In a book with radical implications for the study of medieval literature, Lawrence Clopper resolves this perplexing question. Drama, Play, and Game demonstrates that the theatrum repudiated by medieval clerics was not "theater" as we understand the term today. Clopper contends that critics have misrepresented Western stage history because they have assumed that theatrum designates a place where drama is performed. While theatrum was thought of as a site of spectacle during the Middle Ages, the term was more closely connected with immodest behavior and lurid forms of festive culture. Clerics were not opposed to liturgical representations in churches, but they strove ardently to suppress May games, ludi, festivals, and liturgical parodies. Medieval drama, then, stemmed from a more vernacular tradition than previously acknowledged-one developed by England's laity outside the boundaries of clerical rule.
The most comprehensive anthology of its kind, edited by one of the world's leading authorities on the literature of Tudor and Stuart England
This is a thoroughly revised edition of Glynne Wickham's important history of the development of dramatic art in Christian Europe. Professor Wickham surveys the foundations on which this dramatic art was built: the architecture, costumes and ceremonial of the imperial court at Byzantium, the liturgies of countires in the Eastern and Western Empires and the triumph of the Roman rite and the Romanesque style in Western art. Within this context Professor Wickham describes three major influences upon the drama: religion, recreation and commerce. The first produced the liturgical music drama rooted in praise of Christ the King, vernacular Corpus Christi drama, Saint Plays and Moralities centred on the humanity of Christ. The second gave rise to the secular theatres of social recreation based on the games and dances of village communities ad the more sophisticated sex and war games of the nobility. The section on commerce shows how the development of the drama was intimately related to questions of funding and management which led, during the sixteenth century, to the substitution of a professional for an amateur theatre, and to a growing emphasis on stage spectacle. For this third edition the author has added a substantial section on monastic reform and its effect on Biblical translation and the use of allegory; a final chapter charts the transition in different European countries from this medieval Gothic theatre to the neoclassical methods of play construction and representation which flourished for the next two hundred years. The book gorges a coherent pattern through a very large and complicated subject. It is an excellent introduction to medieval theatre for undergraduates and to the growing number of theatregoers who enjoy contemporary revivals of medieval plays. A large plate section gives a pictorial version of the story, using photographs of contemporary manuscript illuminations, mosaics, frescoes, paintings and sculptures.
Originally published in 1990, Medieval English Drama is an exhaustive bibliography of scholarship on medieval English drama. Each item has been annotated in the bibliography with considerable care; these annotations are descriptive rather than critical and give a clear synopsis of the content of each reference, the texts with which it deals, and a brief indication of its critical position. The bibliography is divided into two sections; editions and collections of plays, and critical works. The bibliography is exhaustive rather than selective and provides English annotations for foreign language works, as well as a list of reviews for most books. The book covers liturgical and folk drama, other forms of entertainment, and related material useful to researchers in the field. The book provides an update of sources not listed in Carl J. Stratman's comprehensive Bibliography of Medieval Drama published in 1972.
The compilation 'Recently Recovered "Lost" Tudor Plays with some others' emerges as a significant exploration into the depths of Tudor drama, beyond the towering figure of Shakespeare. This collection brilliantly encapsulates the diverse landscape of early English theatre, drawing from a range of literary styles, from the moral interludes of Henry Medwall to the sophisticated court dramas of John Redford. It not only revitalizes forgotten jewels of Tudor drama but also illuminates the rich tapestry of themes - from morality and ethics to politics and social critique - that these plays collectively portray. The anthology is a testament to the varied and vibrant nature of Tudor literary culture, providing readers with a more nuanced understanding of this golden age of English theatre. The contributing authors and editors, with their dedicated efforts to recover and curate these 'lost' plays, bridge the historical and cultural distances, connecting the contemporary reader to the Tudor ethos. Their backgrounds in Medieval and Tudor literature, combined with a commitment to unearthing lesser-known texts, align this collection with crucial literary movements and academic pursuits. These plays not only reflect the socio-political climates of their times but also offer insight into the evolving landscape of theatrical expression and public discourse in Tudor England. For anyone seeking to delve deeper into the origins of English drama or to expand their appreciation of Tudor literary artistry, this anthology stands out as a unique and invaluable resource. It invites readers to immerse themselves in the complexity and beauty of these recovered treasures, fostering a deeper understanding and appreciation for the diversity of voices and narratives that shaped early modern literature.