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This book offers a survey of how female and male characters in English Renaissance theatre participated and interacted in musical activities, both inside and outside the contemporary societal decorum. Wong’s analysis broadens our understanding of the general theatrical representation of music, or musical dramaturgy, and complicates the current discussion of musical portrayal and construction of gender during this period. Wong discusses dramaturgical meanings of music and its association with gender, love, and erotomania in Renaissance plays. The negotiation between the dichotomous qualities of the heavenly and the demonic finds extensive application in recent studies of music in early modern English plays. However, while ideological dualities identified in music in traditional Renaissance thinking may seem unequivocal, various musical representations of characters and situations in early modern drama would prove otherwise. Wong, building upon the conventional model of binarism, explores how playwrights created their musical characters and scenarios according to the received cultural use and perception of music, and, at the same time, experimented with the multivalent meanings and significance embodied in theatrical music.
Introduces the conclusions of recent scholarship and research into theatrical conditions, conventions and concepts in the time of Shakespeare. The book begins with a discussion of the origins of early modern English drama and of the theatres that were built for it. Attitudes to theatre and to players, and what audiences expected of both, are explored in the contexts of the constraints of the acting space and the political culture. The book then looks at the structure and dynamics of the theatrical companies before concluding with a discussion of the genres of plays and the expectations of them that people (including writers) held. Appendices list brief details of the major dramatists of the time, and summarise the main historical and dramatic events.
Reflecting a variety of scholarly interests, this volume includes articles that range addressing Africans in Elizabeth London to chapel stagings, to the theory and practice of domestic tragedy. It also includes essays on the historical and theoretical issues relating to the evolution of dramatic texts and women at the theater.
This major new study of Elizabethan and Jacobean royal entertainments, including country house entertainments, tiltyard speeches, and court masques, is the first to look in detail at the evidence provided by the surviving material texts. Drafts, royal presentation manuscripts, widely-circulating scribal copies, and printed pamphlets are all carefully placed in their cultural context, and the medium of manuscript is shown to have been at least as important as print for these texts' circulation. From the close collaboration between commissioning host and hired writer, to the varied interpretations imposed by copyists and publishers, entertainments were written and read within a complex social nexus: far from being royal propaganda, they reflected the distinct and sometimes competing agendas of monarchs, commissioning hosts, authors, publishers, scribal intermediaries, and readers. Writing and Reading Royal Entertainments explores this interpretative community through a range of texts. The first part of the book looks at Elizabethan entertainments: the Woodstock entertainment of 1575 (Chapter I); tiltyard speeches (Chapter II); and the distinctive features of printed pamphlets and scribal copies, notably of the 1602 Harefield entertainment (Chapter III). The second part of the book is mostly concerned with Ben Jonson's work for the Jacobean court, with chapters on the Merchant Taylors' entertainment (Chapter IV) and the Theobalds' entertainment (Chapter V). The final chapter looks at the texts of court masques, especially in the light of Jonson's understanding of the poet's elevated role. The book's conclusion takes the story of these material texts beyond the early modern period and looks at how they have been collected, bought, and sold over the centuries.
Particular Saints draws on church history, art history, and theater history to address these questions by illustrating that Renaissance stage Antonios are a type, representing a tradition familiar to early modern audiences and exploited by Shakespeare in portraying his four major characters named Antonio.
Thomas Middleton and Early Modern Textual Culture is a comprehensive companion to The Collected Works of Thomas Middleton, providing detailed introductions to and full editorial apparatus for the works themselves as well as a wealth of information about Middleton's historical and literary context.
Marlowe was the first writer to the translate the Amores, and thus the first to make the Ovidian cursus literally his own.
Nancy Gutierrez's exploration of female food refusal during the early modern period contributes to the ongoing conversation about female subjectivity and agency in a number of ways. She joins such scholars as Gail Kern Paster, Jonathan Sawday, and Michael Schoenfeldt, who locate early modern ideas of selfhood in the age's understanding of the body and bodily functions, that is, the recognition that behavior and feelings are a result of the internal workings of the body. Exploring the portrayals of the anorectic woman in the work of Ford, Shakespeare, Heywood and others and arguing that the survival of these women undermines regulatory policies exercised over them by those in authority, Gutierrez here demonstrates how female food refusal is a unique demonstration of individuality. The chapters of this book reveal how the common cultural association of women and food manifests itself in the early modern period-not as religious expression, which is the medieval representation, and not as an expression of dysfunctional adolescence and maturation, our own contemporary view, but rather as a trope in which the female body is a site of political apprehension and cultural change. This study is neither a history nor a survey of the anorectic female body in early modern England, but rather individual yet related discussions in which the starved female body is seen to signify certain (un)expressed tensions within the culture.
These essays address the intersections between Shakespeare, history and the present using a variety of new and established methodological approaches, from phenomenology and ecocriticism to the new economics and aesthetics.
More than any other English monarch before or since, Queen Elizabeth I used her annual progresses to shape her royal persona and to bolster her popularity and authority. During the spring and summer, accompanied by her court, Elizabeth toured southern England, the Midlands, and parts of the West Country, staying with private and civic hosts, and at the universities of Oxford and Cambridge. The progresses provided hosts with unique opportunities to impress and influence the Queen, and became occasions for magnificent and ingenious entertainments and pageants, drawing on the skills of architects, artists, and craftsmen, as well as dramatic performances, formal orations, poetic recitations, parades, masques, dances, and bear baiting. The Progresses, Pageants, and Entertainments of Queen Elizabeth I is an interdisciplinary essay collection, drawing together new and innovative work by experts in literary studies, history, theatre and performance studies, art history, and antiquarian studies. As such, it will make a unique and timely contribution to research on the culture and history of Elizabethan England. Chapters include examinations of some of the principal Elizabethan progress entertainments, including the coronation pageant Veritas temporis filia (1559), Kenilworth (1575), Norwich (1578), Cowdray (1591), Bisham (1592), and Harefield (1602), while other chapters consider the themes raised by these events, including the ritual of gift-giving; the conduct of government whilst on progress; the significance of the visual arts in the entertainments; regional identity and militarism; elite and learned women as hosts; the circulation and publication of entertainment and pageant texts; the afterlife of the Elizabethan progresses, including their reappropriation in Caroline England and the documenting of Elizabeth's reign by late eighteenth- and early nineteenth-century antiquarians such as John Nichols, who went on to compile the monumentalThe Progresses of Queen Elizabeth (1788-1823).