An international team of scholars examines the theatrical world in which Shakespeare worked, tracing the social, political, and patronage pressures under which actors operated. They also explore the practicalities of playing: acquiring scripts, theatres, rehearsing, lighting, music, props, boy actors, and the role of women in an 'all-male' world.
An international team of scholars examines the theatrical world in which Shakespeare worked, tracing the social, political, and patronage pressures under which actors operated. They also explore the practicalities of playing: acquiring scripts, theatres, rehearsing, lighting, music, props, boy actors, and the role of women in an 'all-male' world.
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.
Inhaltsangabe
* 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
* 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
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