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This book presents new and overarching perspectives on the relationship between theatre and public from the Henrician Reformation through the interregnum to the Restoration, combining vivid case studies with discussion of theatre's continued importance in shaping the early modern public. Considered from the vantage point of theatre, the early modern public becomes visible as an unruly agent of political change, a force that authorities both feared and appealed to, and one that proved ultimately beyond control. It was through theatrical strategies that rulers and their opposition addressed the early modern public, and in turn it was theatre's public potential that shaped the development of the stage during the revolutionary years of the seventeenth century. In this volume, Katrin Beushausen examines sources including irreverent satirical pamphlets, regal spectacles, anti-theatrical polemic and visions of state theatres, casting new light on the development of the early modern public and theatre.
The first study to systematically trace the impact of theatre on the emerging public of the early modern period.
This book, first published in 1980, is a comprehensive study of the radical theatre movement in Britain from 1968 to 1978. The essays are based on first-hand interviews, with each section being introduced with a summary of key events before detailing the artists under examination.
The first comprehensive history of the Elizabethan libel, this interdisciplinary account traces a viral and often virulent media ecosystem.
This collection of commissioned essays by established scholars, responds to critical debate on political theatre of the turbulent early years of the seventeenth century. Theatre is widely interpreted. The authors discuss censorship, the social implications of pageantry, Reformation ideals, popular theatre and the politics of the masque throughout the period. An early chapter discusses political theatre in the light of work by revisionist and post-revisionist historians. The drama of Jonson, Dekker, Middleton, Massinger, Chapman, Heywood and Rowley is given detailed attention, while Shakespeare's plays are considered in the introductory chapter.
Focusing on the production and reception of drama during the theatre closures of 1642 to 1660, Heidi Craig shows how the 'death' of contemporary theatre in fact gave birth to English Renaissance drama as a critical field. While the prohibition on playing in many respects killed the English stage, drama thrived in print, with stationers publishing unprecedented numbers of previously unprinted professional plays, vaunting playbooks' ties to the receding theatrical past. Marketed in terms of novelty and nostalgia, plays unprinted before 1642 gained new life. Stationers also anatomized the whole corpus of English drama, printing the first anthologies and comprehensive catalogues of drama. Craig captures this crucial turning-point in English theatre history with chapters on royalist nostalgia, clandestine theatrical revivals, dramatic compendia, and the mysteriously small number of Shakespeare editions issued during the period, as well as a new incisive reading of Beaumont and Fletcher's A King and No King.
Huston Diehl sees Elizabethan and Jacobean drama as both a product of the Protestant Reformation—a reformed drama—and a producer of Protestant habits of thought—a reforming drama. According to Diehl, the popular London theater, which flourished in the years after Elizabeth reestablished Protestantism in England, rehearsed the religious crises that disrupted, divided, energized, and in many respects revolutionized English society. Drawing on the insights of symbolic anthropologists, Diehl explores the relationship between the suppression of late medieval religious cultures, with their rituals, symbols, plays, processions, and devotional practices, and the emergence of a popular theater under the Protestant monarchs Elizabeth and James. Questioning long-held assumptions that the reformed religion was inherently antitheatrical, she shows how the reformers invented new forms of theater, even as they condemned a Roman Catholic theatricality they associated with magic, sensuality, and duplicity. Using as her central texts the tragedies of Thomas Kyd, Christopher Marlowe, William Shakespeare, Thomas Middleton, and John Webster, Diehl maintains that plays of the period reflexively explore their own power to dazzle, seduce, and deceive. Employing a reformed rhetoric that is both powerful and profoundly disturbing, they disrupt their own stunning spectacles. Out of this creative tension between theatricality and antitheatricality emerges a distinctly Protestant aesthetic.
The Routledge Companion to Audiences and the Performing Arts represents a truly multi-dimensional exploration of the inter-relationships between audiences and performance. This study considers audiences contextually and historically, through both qualitative and quantitative empirical research, and places them within appropriate philosophical and socio-cultural discourses. Ultimately, the collection marks the point where audiences have become central and essential not just to the act of performance itself but also to theatre, dance, opera, music and performance studies as academic disciplines. This Companion will be of great interest to academics, researchers and postgraduates, as well as to theatre, dance, opera and music practitioners and performing arts organisations and stakeholders involved in educational activities.
This book explores a cultural language, the heroic, that remained consistently powerful through the social, political, and dynastic turbulence of the long eighteenth century. The heroic provided an accessible and vivid shorthand for the ongoing ideological debates over the nature of authority and power, the construction of an ideal masculinity, and the shape of a new. British--rather than English--national identity. An analysis of this cultural language and its different valence over time not only unpacks the overlap between aesthetic and political debate in the late seventeenth and early eighteenth centuries, but also firmly grounds the eighteenth-century's revolution in taste and manners in the ongoing ideological debates about dynastic politics and the foundations of authority. Specifically, the book traces the making and breaking of the Stuart mythology through the development of and attacks on the heroic mode from the Restoration through the aftermath of the 1745 Jacobite uprising. Elaine McGirr is a Senior Lecturer in the departments of drama and English at Royal Holloway, University of London.
Vol. for 1888 includes dramatic directory for Feb.-Dec.; vol. for 1889 includes dramatic directory for Jan.-May.