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Author: Daniel Blank Publisher: Oxford University Press ISBN: 0192886118 Category : Literary Criticism Languages : en Pages : 192
Book Description
Dramatic performances at the universities in early modern England have usually been regarded as insular events, completely removed from the plays of the London stage. Shakespeare and University Drama in Early Modern England challenges that long-held notion, illuminating how an apparently secluded theatrical culture became a major source of inspiration for Shakespeare and his contemporaries. While many university plays featured classical themes, others reflected upon the academic environments in which they were produced, allowing a window into the universities themselves. This window proved especially fruitful for Shakespeare, who, as this book reveals, had a sustained fascination with the universities and their inhabitants. Daniel Blank provides groundbreaking new readings of plays from throughout Shakespeare's career, illustrating how depictions of academic culture in Love's Labour's Lost, Hamlet, and Macbeth were shaped by university plays. Shakespeare was not unique, however. This book also discusses the impact of university drama on professional plays by Christopher Marlowe, Robert Greene, and Ben Jonson, all of whom in various ways facilitated the connection between the university stage and the London commercial stage. Yet this connection, perhaps counterintuitively, is most significant in the works of a playwright who had no formal attachment to Oxford or Cambridge. Shakespeare, this study shows, was at the center of a rich exchange between two seemingly disparate theatrical worlds.
Author: Daniel Blank Publisher: Oxford University Press ISBN: 0192886118 Category : Literary Criticism Languages : en Pages : 192
Book Description
Dramatic performances at the universities in early modern England have usually been regarded as insular events, completely removed from the plays of the London stage. Shakespeare and University Drama in Early Modern England challenges that long-held notion, illuminating how an apparently secluded theatrical culture became a major source of inspiration for Shakespeare and his contemporaries. While many university plays featured classical themes, others reflected upon the academic environments in which they were produced, allowing a window into the universities themselves. This window proved especially fruitful for Shakespeare, who, as this book reveals, had a sustained fascination with the universities and their inhabitants. Daniel Blank provides groundbreaking new readings of plays from throughout Shakespeare's career, illustrating how depictions of academic culture in Love's Labour's Lost, Hamlet, and Macbeth were shaped by university plays. Shakespeare was not unique, however. This book also discusses the impact of university drama on professional plays by Christopher Marlowe, Robert Greene, and Ben Jonson, all of whom in various ways facilitated the connection between the university stage and the London commercial stage. Yet this connection, perhaps counterintuitively, is most significant in the works of a playwright who had no formal attachment to Oxford or Cambridge. Shakespeare, this study shows, was at the center of a rich exchange between two seemingly disparate theatrical worlds.
Author: Margo Anderson Publisher: Untreed Reads ISBN: 1611871786 Category : Literary Criticism Languages : en Pages : 667
Book Description
The debate over the true author of the Shakespeare canon has raged for centuries. Astonishingly little evidence supports the traditional belief that Will Shakespeare, the actor and businessman from Stratford-upon-Avon, was the author. Legendary figures such as Mark Twain, Walt Whitman and Sigmund Freud have all expressed grave doubts that an uneducated man who apparently owned no books and never left England wrote plays and poems that consistently reflect a learned and well-traveled insider's perspective on royal courts and the ancient feudal nobility. Recent scholarship has turned to Edward de Vere, 17th Earl of Oxford-an Elizabethan court playwright known to have written in secret and who had ample means, motive and opportunity to in fact have assumed the "Shakespeare" disguise. "Shakespeare" by Another Name is the literary biography of Edward de Vere as "Shakespeare." This groundbreaking book tells the story of de Vere's action-packed life-as Renaissance man, spendthrift, courtier, wit, student, scoundrel, patron, military adventurer, and, above all, prolific ghostwriter-finding in it the background material for all of The Bard's works. Biographer Mark Anderson incorporates a wealth of new evidence, including de Vere's personal copy of the Bible (in which de Vere underlines scores of passages that are also prominent Shakespearean biblical references).
Author: Paola Pugliatti Publisher: Peter Lang ISBN: 9783039110797 Category : Drama Languages : en Pages : 366
Book Description
This book throws new light on the complexity and variety of practices which may be defined as 'theatrical' in a broad sense in sixteenth- and seventeenth-century English drama. The volume deals first with the mainstream of dramatic production, starting from the anti-theatrical debate which characterized the whole period and increased in intensity as it went on. Here Shakespeare and Ben Jonson come on stage with their rejoinders to this issue. At the same time, while the universities were offering a kind of theatre workshop importing Latin and Italian models, popular performances were being staged in non-theatrical spaces. Tournaments, and their aristocratic codes, are explored as well as more popular and 'marginal' spectacles - such as those of conny-catching improvisers, jugglers, gypsy dancers and fortune-tellers, clowns and prophetesses.
Author: Carla Mazzio Publisher: University of Pennsylvania Press ISBN: 0812293401 Category : Language Arts & Disciplines Languages : en Pages : 359
Book Description
The Inarticulate Renaissance explores the conceptual potential of the disabled utterance in the English literary Renaissance. What might it have meant, in the sixteenth-century "age of eloquence," to speak indistinctly; to mumble to oneself or to God; to speak unintelligibly to a lover, a teacher, a court of law; or to be utterly dumfounded in the face of new words, persons, situations, and things? This innovative book maps out a "Renaissance" otherwise eclipsed by cultural and literary-critical investments in a period defined by the impact of classical humanism, Reformation poetics, and the flourishing of vernacular languages and literatures. For Carla Mazzio, the specter of the inarticulate was part of a culture grappling with the often startlingly incoherent dimensions of language practices and ideologies in the humanities, religion, law, historiography, print, and vernacular speech. Through a historical analysis of forms of failed utterance, as they informed and were recast in sixteenth-century drama, her book foregrounds the inarticulate as a central subject of cultural history and dramatic innovation. Playwrights from Nicholas Udall to William Shakespeare, while exposing ideological fictions through which articulate and inarticulate became distinguished, also transformed apparent challenges to "articulate" communication into occasions for cultivating new forms of expression and audition.
Author: Piotr Sadowski Publisher: Taylor & Francis ISBN: 1040127428 Category : Literary Criticism Languages : en Pages : 244
Book Description
According to psychological research on acting, the histrionic personality consists of a compulsive tendency to play-act, exaggerate emotions, succumb to illusions, seek attention through speech, body language and costume, to be seductive and impulsive. An original intervention in the critical history of Shakespeare’s most famous play, Histrionic Hamlet argues that the Danish Prince is a stage representation of just such a personality—a born actor and a drama queen rather than a politician—incongruously thrown in the middle of ruthless high-stakes power struggle requiring pragmatic rather than theatrical skills. Uniquely among other English revenge tragedies, in Hamlet a histrionic protagonist striking a series of gratuitous, baffling, self-indulgent, and counterproductive poses is called upon to carry out a challenging and brutal political task, which he spectacularly and tragically mismanages. Unable to perform on a theatrical stage as a professional actor, the Clown Prince bitterly play acts anyway, turning all situations into opportunities of pretend play rather than effective political action. In consequence he wastes tactical advantages over his enemies, endangers himself, and jeopardizes his revenge plan, if ever there was one. Histrionic Hamlet should be of interest to students of Shakespeare, theater practitioners, and anyone interested in human dysfunctional and maladaptive behavior.
Author: Marcus K. Harmes Publisher: A&C Black ISBN: 1472509188 Category : History Languages : en Pages : 227
Book Description
Armed with pistols and wearing jackboots, Bishop Henry Compton rode out in 1688 against his King but in defence of the Church of England and its bishops. His actions are a dramatic but telling indication of what was at stake for bishops in early modern England and Compton's action at the height of the Restoration was the culmination of more than a century and a half of religious controversy that engulfed bishops. Bishops were among the most important instruments of royal, religious, national and local authority in seventeenth-century England. While their actions and ideas trickled down to the lower strata of the population, poor opinions of bishops filtered back up, finding expression in public forums, printed pamphlets and more subversive forms including scurrilous verse and mocking illustrations. Bishops and Power in Early Modern England explores the role and involvement of bishops at the centre of both government and belief in early modern England. It probes the controversial actions and ideas which sparked parliamentary agitation against them, demands for religious reform, and even war. Bishops and Power in Early Modern England examines arguments challenging episcopal authority and the counter-arguments which stressed the necessity of bishops in England and their status as useful and godly ministers. The book argues that episcopal writers constructed an identity as reformed agents of church authority. Charting the development of this identity over a hundred and fifty years, from the Reformation to the Restoration, this book traces the history of early modern England from an original and highly significant perspective. This book engages with many aspects of the social, political and religious history of early modern England and will therefore be key reading for undergraduates and postgraduates, and researchers working in the early modern field, and anyone who has an interest in this period of history.
Author: Ira Clark Publisher: Bucknell University Press ISBN: 9780838752258 Category : Drama Languages : en Pages : 332
Book Description
"The Moral Art of Philip Massinger views the successor of Shakespeare and Fletcher in a new sociopolitical position: one of accommodation based on a moderate reformation of the tradition of the old hierarchy of inherited degree, patriarchy, and patronage. In addition, author Ira Clark claims a superior aesthetic position for tragicomedy as a sophisticated, elaborate synthesis of dramatic conventions in complex multiple plots filled with reversals, recognitions, miraculous conversations, and reconciliations after clashes of absolutes. The genre's complex testing of characters, discovery of their failures, and reintegration of them into a reformed society focuses central sociopolitical and moral issues for an allegedly decadent but actually deeply troubled society. Finally, the study takes into its account Massinger's many collaborations with John Fletcher, which are generally ignored. In sum, this work attempts to revise obsolete views of the dominant playwright just before the closing of the theaters and the opening of the English Civil War." ""A Case for Massinger" presents a critical history of why Massinger is unappreciated, traces his life with an eye to his ideal of patronage and his emphasis on gratitude, and outlines the rest of the work. "Models for Massinger the Apprentice" focuses on the techniques of tragicomedy as Massinger learned them from his three masters. The Queen of Corinth, written with Fletcher, serves as an exemplum of what this master collaborator taught him about tragicomedy. The City Madam. which obviously alludes to Volpone, serves as an example of the traditions of the estates morality play, satiric style, and metadrama, which Jonson transmitted to Massinger. The Duke of Milan and The Emperor of the East, with motifs borrowed from Othello, serve as exempla of how Massinger used traditional dramatic allusions to present social issues." ""Massinger's Political Plays in their Time" focuses on the sociopolitical inclinations that Massinger consistently presented through his collaborations and solo plays. Primarily the issues revolved around the relative value of court and country, monarchism and parliamentary balance, hereditary degree and social mobility, and conspicuous consumption and martial maintenance. "Massinger's Tragedies and Satiric Tragicomedies in their Social and Family Settings" focuses on the social, family, and personal preferences that Massinger presented in his work: a concerned patriarchy, a greater voice for women, and the rights of inheritance by younger sons. "Massinger's Tragicomedy" circles around to view all of Massinger's artistic and sociopolitical themes by way of readings of a collaborative tragicomedy and a solo tragicomedy: The Elder Brother (with Fletcher) and The Guardian."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Author: Marta Straznicky Publisher: Cambridge University Press ISBN: 9780521841245 Category : Drama Languages : en Pages : 214
Book Description
Marta Straznicky offers a detailed historical analysis of early modern women's closet plays: plays explicitly written for reading, rather than public performance. She reveals that such works were part of an alternative dramatic tradition, an elite and private literary culture, which was understood as intellectually superior to and politically more radical than commercial drama. Elizabeth Cary, Jane Lumley, Anne Finch and Margaret Cavendish wrote their plays in this conjunction of the public and the private at a time when male playwrights dominated the theatres. In her astute readings of the texts, their contexts and their physical appearance in print or manuscript, Straznicky has produced many fresh insights into the place of women's closet plays both in the history of women's writing and in the history of English drama.
Author: Daniel Blank
Author: Daniel Blank
Author: 
Author: Margo Anderson
Author: Paola Pugliatti
Author: Carla Mazzio
Author: Arthur F. Kinney
Author: Piotr Sadowski
Author: Marcus K. Harmes
Author: Ira Clark
Author: Marta Straznicky