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Winner of the 2012 Elizabeth Dietz Award Shortlisted for The Theatre Book Prize 2010
The Oxford Handbook of Early Modern Theatre
Edited by Richard Dutton
752 pages
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24 black-and-white halftones
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246x171mm
978-0-19-928724-6
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Hardback
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14 May 2009
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- An indispensable reference for the study of Early Modern Theatre
- Thirty-six specially written contributions by an international team of experts providing the most advanced scholarship in each area
- Unusually, contains essays on theatre history methodology, questioning the field and how scholars handle it
- Includes numerous illustrations, gathering most of the key visual evidence in one place
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.Readership: Teachers, scholars, and advanced students of Shakespeare, Renaissance drama, and Renaissance theatre
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Edited by Richard Dutton, The Ohio State University Contributors:
Ian W. Archer, Keble College, Oxford.
John H. Astington, University of Toronto.
Mark Bayer, American University of Beirut
Mary Bly, Fordham University.
Martin Butler, University of Leeds.
S. P. Cerasano, Colgate University, Hamilton, NY
Ralph Alan Cohen, American Shakespeare Center, Staunton, Virginia
Alan C. Dessen, (Emeritus), University of North Carolina, Chapel Hill
Richard Dutton, Ohio State University
Gabriel Egan, Loughborough University
Robert
Graves, University of Illinois at Urbana-Champaign
Peter Greenfield, University of Puget Sound
Eva Griffith, University of Durham
Andrew Gurr (Emeritus), University of Reading
Heather Hirschfeld, University of Tennessee, Knoxville
William Ingram, University of Michigan, Ann Arbor
David Kathman, independent scholar
Roslyn L. Knutson, University of Arkansas at Little Rock
Natasha Korda, Wesleyan University
Anne Lancashire, University of Toronto
Sally-Beth MacLean, University of Toronto
James J. Marino, Cleveland State University
Lucy Munro, Keele University
Alan H. Nelson (Emeritus), University of California, Berkeley
Thomas Postlewait, University of Washington
Jacalyn Royce, University of Puget Sound, Tacoma, Washington
Tom Rutter, Sheffield Hallam University
Michael Shapiro (Emeritus), University of Illinois
Andrew Sofer, Boston College
Tiffany Stern,University College, Oxford
W.R. Streitberger, University of Washington
Fran Teague, University of Georgia
Suzanne Westfall, Lafayette College
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"Each of the 36 richly detailed essays beckons to be read... Many among this all-star line-up of distinguished contributors have published book-length studies on their respective academic specializations... Collectively, the essays accrue, building a comprehensive and coherent profile of the world of early modern theater" - P.D. Nelsen, CHOICE "A very valuable tool" - William Proctor Williams, Notes and Queries "Richard Dutton has assembled an impressive array of scholars" - Annotated Bibliography of English Studies "For anyone wishing to gain a solid understanding of the work being undertaken in the field, or indeed to join it, this is a formidable book which both demands
and repays attention... In its range and length it is a valuable reference work; in its minutiae, it is replete with scholarly insights." - Gwilym Jones, Around the Globe.
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William Ingram: 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 & 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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The specification in this catalogue, including without limitation price, format, extent, number of illustrations, and month of publication, was as accurate as possible at the time the catalogue was compiled. Occasionally, due to the nature of some contractual restrictions, we are unable to ship a specific product to a particular territory. Jacket images are provisional and liable to change before publication.
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