Oxford Handbook of Early Modern Theatre

Erscheinungsjahr 2009
ISBN: 978-0-19-928724-6
Verlag: OUP Oxford

Buch, Englisch, 744 Seiten, Format (B × H): 175 mm x 250 mm, Gewicht: 1440 g

There was no single 'Elizabethan stage'. Early modern actors exploited various opportunities for patronage and profit between the 1570s and 1642, whether touring, or performing at inns, in country houses, in purpose-built theatres, at court, at the universities or at the inns of court. This authoritative and comprehensive collection of new essays explores the social, political, and economic pressures under which the playing companies of Shakespeare and his contemporaries operated. It shows how they evolved over time to meet new challenges such as the opposition of City of London authorities, the possibility of permanent location in London, the re-emergence of boy companies c. 1600, and the great increase in court performance which began under James I. Essays also explore the practical everyday business of playing: acquiring scripts and playhouses, dramatic authorship, the contribution of financiers and entrepreneurs, rehearsing, lighting, music, props, styles of acting, boy actors, and the role of women in an 'all-male' world. A number of contributors address the methodologies of theatre history itself, questioning its philosophical premises and evaluating the nature of the evidence we have, such as that from stage directions in play-books or from the visual records. The collection as a whole offers a challenging account of the world of the players in Tudor-Stuart England, revising old assumptions and so inviting us to explore anew the plays which were written for them and which are their greatest living legacy.

Autoren/Hrsg.

Dutton, Richard

Fachgebiete

• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Theaterwissenschaft

Inhaltsverzeichnis

- Introduction: Early Modern Theatre History: where we are now, how we got here, where we go next

- Section A: Theatre Companies

- 1: W.R. Streitberger: Adult Playing Companies to 1583

- 2: Sally-Beth MacLean: Adult Playing Companies, 1583 to 1593

- 3: Roslyn Knutson: Adult Playing Companies, 1593 to 1603

- 4: Tom Rutter: Adult Playing Companies 1603 to 1613

- 5: James Marino: Adult Playing Companies 1613 to 1625

- 6: Martin Butler: Adult playing companies 1625 to 1642

- 7: Michael Shapiro: Early (pre-1590) Boy Companies and their Acting Venues

- 8: Mary Bly: The boy companies 1599-1613

- Section B: London Playhouses

- 9: David Kathman: Inn-yard Playhouses

- 10: Gabriel Egan: The Theatre in Shoreditch, 1576-1599

- 11: Andrew Gurr: Why the Globe is Famous

- 12: Ralph Alan Cohen: The Most Convenient Place: The Second Blackfriars Theatre and Its Appeal

- 13: Mark Bayer: The Red Bull Playhouse

- 14: Frances Teague: The Phoenix and the Cockpit-in-Court Playhouses

- Section C: Other Playing Spaces

- 15: Suzanne Westfall: 'He who pays the piper calls the tune': Household Entertainments

- 16: Alan H. Nelson: The Universities and the Inns of Court

- 17: Peter Greenfield: Touring

- 18:. John H. Astington: Court theatre

- 19: Anne Lancashire: London Street Theatre

- Section D: Social Practices

- 20: Alan Somerset: Not Just Sir Oliver Owlet: From Patrons to 'Patronage' of Early Modern Theatre

- 21: Richard Dutton: The Court, The Master of the Revels and The Players

- 22: Susan Cerasano: Theatre Entrepreneurs and Theatrical Economics

- 23: Ian W. Archer: The City of London and the Theatre

- 24: David Kathman: Players, Livery Companies, and Apprentices

- 25: Kathleen E. McLuskie: Materiality and the Market: the case of the Lady Elizabeth's Men. The Lady Elizabeth's Men and the challenge of theatre history

- 26: Heather Hirschfeld: 'For the author's credit': Issues of Authorship in English Renaissance Drama

- 27: Natasha Korda: Women in the Theatre

- Section E: Evidence of Theatrical Practices

- 28: Jacalyn Royce: Early Modern Naturalistic Acting: The Role of the Globe in the Development of Personation

- 29: Tiffany Stern: Actors' Parts

- 30: Alan C. Dessen: Stage Directions and the Theatre Historian

- 31: R. B. Graves: Lighting

- 32: Lucy Munro: Music and sound

- 33: Andrew Sofer: Properties

- 34: Thomas Postlewait: Eyewitnesses to History: Visual Evidence for Theatre in Early Modern England

- 35: Eva Griffith: Christopher Beeston, His Property and Properties

- Composite Bibliography

- Index

Über Autor(innen)

Richard Dutton has been Humanities Distinguished Professor of English at Ohio State University since 2003. Previously he was at Lancaster University in England for thirty years. Working on the borders of literary criticism and theatre history, he is best known for his work on early modern censorship, including Mastering the Revels: the Regulation and Censorship of English Renaissance Drama (1991) and Licensing, Censorship and Authorship in Early Modern England: Buggeswords (2000). Ben Jonson, 'Volpone' and the Gunpowder Plot (2008) is his third monograph on Jonson. His scholarly editing includes Jonson's Epicenehas an NEH Fellowship in 2008/9 to work on Shakespeare's revision of his plays for court performance.