Brief Notices
The primary text, as listed on the publisher’s website, includes: Introduction; Part I Records: St John’s College register of inventories (1548–49), Trinity College Inventory (1550), Alan H. Nelson; Cordwainers’ and shoemakers’ accounts (1549–50), Smiths’, cutlers’, and plumbers’ accounts (1560–61), Bowyers’, fletchers’, coopers’, and stringers’ accounts (1571), Painters’, glaziers’, embroiderers’, and stationers’ accounts (1571), Elizabeth Baldwin, Lawrence M. Clopper, and David Mills; Cappers’ records (1540), Drapers’ accounts (1563), Smiths’ accounts (1584), R.W. Ingram; Corporation chamberlains’ accounts (1573–74) (Elizabeth’s visit), Willis’ description of a play at Gloucester (1570s), Audrey Douglas and Peter Greenfield; Chamberlains’ accounts (New Romney, 1483–86 and 1560–61), James M. Gibson; Grocers’ Guild records (1564–65), David Galloway; Mercers’ pageant documents (1433) (indenture), Mercers’ pageant documents (1461) (expenses), Alexandra F. Johnston and Margaret Rogerson; Of perspective, Sebastiano Serlio; Third dialogue, Leoni di Somi. Part II Pageant Vehicle Staging: The York Mercers and their pageant of Doomsday, 1433–1526, Alexandra F. Johnston and Margaret (Dorrell) Rogerson; The development of the York Mercers’ pageant waggon, Peter Meredith; The manner of these playes, John Marshall; The Coventry pageant waggon, Reg Ingram. Part III Other Forms of Staging: Criteria for a popular repertory, David Bevington; La festa d’Elx: the Festival of the Assumption of the Virgin, Elche (Alicante), Pamela M. King and Asunción Salvador-Rabaza; Drama and the city: city parades, Katie Normington; Moving encounters: choreographing stage and spectators in urban theatre and pageantry, Tom Pettitt. Part IV Costume, Mask and Stage Effects: Apparell comlye, Meg Twycross; Gunnepowdyr, fyre and thondyr, Philip Butterworth; Mystery plays, Meg Twycross and Sarah Carpenter; Magic through sound: illusion, deception and agreed pretence, Philip Butterworth. Part V Playing: “Look at me when I’m speaking to you”: the “behold and see” convention in medieval drama, David Mills; Prompting in full view of the audience: a medieval staging convention, Philip Butterworth; “Walking in the air”: the Chester shepherds on stilts, John Marshall; Devotional acting: [End Page 121] Sydney 2008 and medieval York, Margaret Rogerson; Parts and parcels: cueing conventions for the English medieval player, Philip Butterworth; The professional travelling players of the 15th century: myth or reality?, Peter Meredith. Part VI Audiences and Spectatorship: Medieval theatricality and spectatorship, John J. McGavin; The 15th-century audience of the York Corpus Christi play: records and speculation, Peter Meredith; New evidence: vives and audience-response to Biblical drama, Sarah Carpenter; Faded pageant: the end of the Mystery plays in Lille, Alan E. Knight; Framing the Passion: mansion staging as visual mnemonic, Glenn Ehrstine; Name index.
The primary text, as listed on the publisher’s website, includes: Introduction. Part I Playing Spaces: The changing scene: plays and playhouses in the Italian Renaissance, Michael Anderson; The theatres, John Orrell; Staging and performance, Jonathan Thacker; The material conditions of Molière’s stage, Jan Clarke. Part II Staging: Shakespeare’s stage, J. L. Styan; Shakespeare’s theater: tradition and experiment, Robert Weimann; Women at the windows: commedia dell’ arte and theatrical practice in early modern Italy, Jane Tylus; The circulation of clothes and the making of the English theater, Ann Rosalind Jones and Peter Stallybrass; Absorbing interests: Kyd’s bloody handkerchief as palimpsest, Andrew Sofer; Insubstantial pageants: women’s work and the (im)material culture of the early modern stage, Natasha Korda. Part III Acting: Ruzante and the evolution of acting practice in Renaissance Italy, Ronnie Ferguson; Arte dialogue structures in the comedies of Molière, Richard Andrews; Rogues and rhetoricians: acting styles in early English drama, Peter Thomson; Rehearsal, performance and plays, Tiffany Stern; Comic stage routines in Guarinonius’ medical treatise of 1610, M. A. Katritzky; “La virtu et la volupté”: models for the actress in early modern Italy and France, Virginia Scott; Acting, Gerry McCarthy. Part IV Audiences: The audiences, Andrew Gurr; Theaters and audiences, Stephen Orgel; Women as spectators, spectacles, and paying customers, Jean E. Howard; Toward reconstructing the audiences of the commedia dell’ arte, Robert Henke; The audience, W. L. Wiley; The actors and their audience, N. D. Shergold. Name index.
The primary text, as listed on the publisher’s website, includes: Introduction. Part I Acting and Performance: Nature to advantage dressed: eighteenth-century acting, Alan S. Downer; Vitalism and the crisis of sensibility, Joseph R. Roach; Garrick, the ghost and the machine, Joseph R. Roach; The performance practice of acting: [End Page 122] the eighteenth century part I: ensemble acting, Dene Barnett; The dangers of the new sensibilities in eighteenth-century German acting, Gloria Flaherty; “Reading Shakespeare by flashes of lightning”: challenging the foundations of Romantic acting theory, Tracy C. Davis; Researching the acting of French melodrama, 1800–1830, Gabrielle Hyslop; The training of actors at the Paris Conservatoire during the nineteenth century, F. W. J. Hemmings; Players and painted stage: nineteenth century acting, Alan S. Downer; On natural acting, George Henry Lewes. Part II Staging, Scenery and Lighting: Lighting at the King’s Theatre, Haymarket, 1780–82, Judith Milhous; Appendix A. Pantomime trickwork, David Mayer; The German stage in the nineteenth century, Brigitte Schatzky; Gas man’s duties, Lighting the rehearsal, Exterior lighting, Pilot lights and electrical ignition, Rehearsing the lighting, Terence Rees; The modern theatre—the stage, M. J. Moynet (translated and augmented by Allan S. Jackson with M. Glen Wilson); Professor Pepper’s ghost, George Speaight; Erasing the spectator: observations on nineteenth century lighting, Victor Emeljanow; Art in the theatre: I-scenery, William Telbin; Art in the theatre: the painting of scenery, William Telbin; Art in the theatre: spectacle, Augustus Harris; From political to cultural despotism: the nature of the Saxe-Meiningen aesthetic, John Osborne. Part III Audiences: From courts to consumers: theater publics, James Van Horn Melton; Tears and the new attentiveness, James H. Johnson; Working-class audiences, F. W. J. Hemmings; The audiences of the Britannia Theatre, Hoxton, Clive Barker; New views on cheap theatres: reconstructing the nineteenth-century theatre audience, Jim Davis and Victor Emeljanow. Name index.
The primary text, as listed on the publisher’s website, includes: When acting is an art, Constantin Stanislavski, trans. Elizabeth Reynolds Hapgood; Michael Chekhov on the technique of acting: “Was Don Quixote true to life?”, Franc Chamberlain; The dance of the future, Isadora Duncan; The actor and the über-marionette, Edward Gordon Craig; Actors on Brecht, Margaret Eddershaw; Introduction, Rudolf Laban; Samuel Beckett as director: the art of mastering failure, Anna McMullan; Performance, Jennifer Kumiega; Theatre theory: sociology and the actor’s technique, Ian Watson; The masks of Jacques Lecoq, John Wright; Woman, man, dog, tree: two decades of intimate and monumental bodies in Pina Bausch’s Tanztheater, Gabrielle Cody; On risk and investment, Tim Etchells; On seeing the invisible, Peggy Phelan. Part II Staging Performance: Of the futility of the “theatrical” in the theater, Alfred Jarry; Ideas on a reform of our mise en scène, Adolphe Appia; The founding and manifesto of futurism, Filuppo T. Marinetti; Biomechanics and constructivism, Edward Braun; The [End Page 123] naked stage, John Rudlin; Theater (Bühne), Oskar Schlemmer; The documentary play, Erwin Piscator, Bertolt Brecht (1898–1956) and Caspar Neher (1897–1962), Joslin McKinney and Philip Butterworth; Production and metaphysics, Antonin Artaud; Myth and theatre laboratories, Peter Brook; After ideology: Heiner Müller and the theatre of catastrophe, David Kilpatrick; 1789, Victoria Nes Kirby; Notes on political street theatre, Paris: 1968, 1969, Jean-Jacques Lebel; Make-believe: Socíetas Raffaello Sanzio do theatre, Nicholas Ridout; Spectacle, synergy and megamusicals: the global-industrialisation of the live-entertainment economy, Jonathan Burston; The digital double, Steve Dixon. Part III Representation and Reception: Women’s suffrage drama, Katharine Cockin; A propertyless theatre for the propertyless class, Tom Thomas; Modern dance in the Third Reich: six positions and a coda, Susan A. Manning; Reading The Blacks through the 1956 preface: politics and betrayal, Carl Lavery; Performance, community, culture, Baz Kershaw; The politics of representation in DV8’s Dead Dreams of Monochrome Men and Adventures in Motion Picture’s Swan Lake, Ramsay Burt; ORLAN’s performative transformations of subjectivity, Tanya Augsburg; Addenda, phenomenology, embodiment: cyborgs and disability performance, Petra Kuppers; Performing like an asylum seeker: paradoxes of hyper-authenticity, Silvija Jestrovic; The role of national theatres in an age of globalization, Janelle Reinelt; There is a word for people like you: audience, The spectator as bad witness and bad voyeur, Florian Malzacher. Name index.
Following an introduction by the editor (6–40) this volume includes the following plays: Night Watches (1916), by Allan Monkhouse (41–58); Mine Eyes Have Seen (1918), by Alice Dunbar-Nelson (59–70); Tunnel Trench (1924), by Hubert Griffith (71–136); Post-Mortem (1930), by Noël Coward (137–214); Oh What a Lovely War (1963), by Theatre Workshop (215–302); The Accrington Pals (1981), by Peter Whelan (303–96); Sea and Land and Sky (2010), by Abigail Docherty (397–470).
This volume begins with a list of figures (ix–x), notes on contributors (xi–xiv), acknowledgments (xv), and an introduction by the editors (1–22). The primary text includes essays in five parts. Part 1, “Systems and Theatergrams,” includes: Robert Henke, “The Taming of the Shrew, Italian Intertexts, and Cultural Mobility” (23–36); Richard Andrews, “Resources in Common: Shakespeare and Flaminio Scala” (37–52); Melissa Walter, “‘Are You a Comedian?’: The Trunk in Twelfth Night and the Intertheatrical Construction of Character” (53–68). Part 2, “The Pastoral Zone,” includes: Susanne L. Wolford, “Hymen and the Gods on Stage in [End Page 124] Shakespeare’s As You Like It and Italian Pastoral” (69–92); Eric Nicholson, “Et in Arcadia the Dirty Brides” (93–112). Part 3, “Performance Texts and Costumes,” includes: Pamela Allen Brown, “Dido, Boy Diva of Carthage: Marlowe’s Dido Tragedy and the Renaissance Actress” (113–30); Christian M. Billing, “Forms of Fashion: Material Fabrics, National Characteristics, and the Dramaturgy of Difference on the Early Modern English Stage” (131–56). Part 4, “Northern and Central European Mobilities,” includes: M. A. Katritzky, “Shakespeare’s ‘portrait of a blinking idiot’: Transnational Reflections” (157–76); Pavel Drábek, “English Comedy and Central European Marionette Drama: A Study in Theater Etymology” (177–98). Part 5, “Translation Theory and Practice,” includes: Jacques Lezra, “Trade in Exile,” (199–216); Alessandro Serpieri, “Found and Lost in Translation” (217–28); David Schalkwyk, “Shakespeare’s Untranslatability” (229–44); Shormishtha Panja, “Lebedeff, Kendal, Dutt: Three Travelers on the Indian Stage” (245–64). The book concludes with an epilogue by Jane Tylus, “Early Modern Theater in Motion: The Example of Orpheus” (265–72), a select bibliography (273–86), and an index (287–303).
This volume begins with notes on contributors (vii–x), acknowledgments (xi), and an introduction by the editors, “Transformations and the Ideology of Witchcraft Staged” (1–18). The primary text includes essays in three parts. Part 1, “Demons and Pacts,” includes: Barbara H. Traister, “Magic and the Decline of Demons: A View from the Stage” (19–30); Bronwyn Johnston, “Who the Devil is in Charge? Mastery and the Faustian Pact on the Early Modern Stage” (31–46); Laura Levine, “Danger in Words: Faustus, Slade, and the Demonologists” (47–60). Part 2, “Rites to Believe,” includes: Alisa Manninen, “‘The Charm’s Wound Up’: Supernatural Rites in Macbeth” (61–74); Verena Theile, “Demonising Macbeth” (75–90); Jill Delsigne, “Hermetic Miracles in The Winter’s Tale” (91–110). Part 3, “Learned Magic,” includes: Peter Kirwan, “‘We ring this round with our invoking spells’: Magic as Embedded Authorship in The Merry Devil of Edmonton” (111–22); Jasmine Lellock, “Boiled Brains, ‘Inward Pinches,’ and Alchemical Tempering in The Tempest” (123–38); Lisa Hopkins, “Profit and Delight? Magic and the Dreams of a Nation (139–54); Part 4, “Local Witchcraft,” includes: Brett D. Hirsch, “Three Wax Images, Two Italian Gentlemen, and One English Queen” (155–68); Juditch Bonzol, “‘In good reporte and honest estimacion amongst her neighbours’: Cunning Women in the Star Chamber and on the Stage in Early Modern England” (169–84); Jessica Dell, “‘A witch, a quean, an old cozening quean!’: Image Magic and Shakespeare’s The Merry Wives of Windsor” (185–202); Helen Ostovich, “‘Gingerbread Progeny’ in Bartholomew Fair” (203–14); Andrew [End Page 125] Loeb, “‘My poor fiddle is bewitched’: Music, Magic, and the Theatre in The Witch of Edmonton and The Late Lancashire Witches” (215–32). The text concludes with a bibliography (233–54) and an index (255–65).
This volume begins with a list of figures (ix), acknowledgements (x), notes on contributors (xi), a note on conventions (xiii), and an introduction, “Nothing Will Come of Nothing? Or, What Can We Learn from Plays That Don’t Exist?” by the editors (1–16). The primary text includes essays in three parts. Part 1, “What Is a Lost Play?,” includes: William Proctor Williams, “What’s a Lost Play?: Toward a Taxonomy of Lost Plays” (17–30); Roslyn L. Knutson, “Ur-Plays and Other Exercises in Making Stuff Up” (31–54); Andrew Gurr, “What Is Lost of Shakespearean Plays, Besides a Few Titles?” (55–71); Matthew Steggle, “Lost, or Rather Surviving as a Very Short Document” (72–83); John H. Astington, “Lumpers and Splitters” (84–104). Part 2, “Working with Lost Plays,” includes: David McInnis, “‘2 Fortune’s Tennis’ and the Admiral’s Men,” (105–26); Misha Teramura, “Brute Parts: From Troy to Britain at the Rose, 1595–1600” (127–47); Paul Whitfield White, “The Admiral’s Lost Arthurian Plays,” (148–62); Lawrence Manley, “Lost Plays and the Repertory of Lord Strange’s Men” (163–86); Michael J. Hirrel, “Thomas Watson, Playwright: Origins of Modern English Drama” (187–207); Christopher Matusiak, “Lost Stage Friars and Their Narratives” (208–28); Christi Spain-Savage, “Reimagining Gillian: The Merry Wives of Windsor and the Lost ‘Friar Fox and Gillian of Brentford,’” (229–54). Part 3, “Moving Forward,” includes: Martin Wiggins, “Where to Find Lost Plays” (255–78). The text ends with a select bibliography (279–81), and an index (282–95).
Following an introduction by the editors (1–11) this volume includes the following essays: Roslyn L. Knutson, “Dramatic Verse and Early Modern Playgoers in Marlowe’s Time” (11–24); Bradley D. Ryner, “The Usurer’s Theatrical Body: Refiguring Profit in The Jew of Malta and The Blind Beggar of Alexandria” (25–34); Peter Hyland, “Theater of Anatomy: The Tragedy of Hoffman” (35–46); Ann Thompson and John O. Thompson, “‘Know You This Ring?’: Metonymic Functions of a Prop” (47–62); Alan C. Dessen, “Editing and Staging The Revenger’s Tragedy: Three Problems” (63–72); Darlene Farabee, “The ‘Most Unsavoury Similes’ and Henry IV, Part One” (73–86); Arthur F. Kinney, “Shakespeare and Cognitive Vision” (87–108); Jay L. Halio, “Shakespeare’s Conception of Tragedy: The Middle Tragedies” (109–20); Michèle Willems, “Shakespeare or [End Page 126] Not Shakespeare?: The Propagation of the Plays in Europe through J. F. Ducis’s ‘Imitations’” (121–36); Virginia Mason Vaughan, “Un/natural Perspectives: Viola on the Late Nineteenth-Century Stage” (137–52); Evelyn Tribble, “Reading, Recitation, and Entertainments: The Dunedin Shakespeare Club, 1877–1956” (153–64); Zdeněk Stříbrný, “The Power of Shakespeare’s Word in Twentieth-Century Prague” (165–74); Andrew James Hartley, “Showtime: Temporality and the Video Archive of Julius Caesar at the RSC” (175–86). The text concludes with an index (187–92) and contributors (193–96).
This volume begins with acknowledgments (vii), and an introduction, “‘Reformation in a flood’: The Religious Turn’s Second Wave,” by James D. Mardock (1–20). The primary text includes essays in four parts. Part 1, “Dramas of Doctrine,” includes: William W. E. Slights, “The Reformed Conscience: Woodes, Marlowe, and Shakespeare” (21–40); Daniel Cadman, “Stoicism, Calvinism, and Determinism in Fulke Greville’s Alaham” (41–62); Robert Hornback, “The Jacob and Esau Paradigm: Nicholas Udall’s Predestinarian Problem Comedy” (63–82). Part 2, “Staging the Politics of Reform,” includes: Adrian Streete, “Conciliarism and Liberty in Shakespeare and Fletcher’s Henry VIII” (83–106); Elizabeth Pentland, “Martyrdom and Militancy in Marlowe’s Massacre at Paris” (107–34); Brian J. Harries, “Sacral Objects and the Measure of Kingship in Shakespeare’s Henry VI” (135–54). Part 3, “Performing Protestantism,” includes: Kathryn R. McPherson, “Performing Catechism in Measure for Measure” (155–70); Katherine A. Gillen, “Authorial Anxieties and Theatrical Instability: John Bale’s Biblical Plays and Shakespeare and Wilkins’s Pericles” (171–94); Terri Bourus, “Counterfeiting Faith: Middleton’s Theatrical Reformation of Measure for Measure” (195–218). Part 4, “Confessional Aesthetics and Nostalgia,” includes: Lisa Hopkins, “Theatricality, Faith, and Color Imagery” (219–40); Jay Zysk, “Of Ceremonies and Henry VIII” (241–62). The text concludes with an afterward by John D. Cox (263–76), notes (277–336), about the contributors (337–40), and an index (341–51). [End Page 127]
