This introduction offers an overview of early English theatre from the earliest recorded vernacular texts in the late medieval period to the closing of the theatres in 1642. Where most existing studies focus on one side or the other of an imaginary boundary between 'medieval' and 'early modern' or 'Renaissance' drama, this book examines the theatre of nearly three centuries in a way that highlights continuities as well as divisions. The study is organised into five subject-based chapters: Place and space; Actors and audiences; Writers, controllers and critics; Genre and tradition; Instruction and spectacle. It includes full chronologies, helpful text boxes and over twenty illustrations.
This new study of Shakespeare's English history plays looks at the plays through the lens of early modern staging, focusing on the recurrence of particular stage pictures and 'units of action', and se
This new study of Shakespeare's English history plays looks at the plays through the lens of early modern staging, focusing on the recurrence of particular stage pictures and 'units of action', and se
This study explores the use of other languages, especially Latin, in medieval and Renaissance English drama. Until the medieval period Latin was regarded as the sacramental language of authority, but in the newly politicized linguistic arena of the late fourteenth century it became a symbol of the potential enemy from Rome. In this book Janette Dillon examines why, during the period 1400 to 1600, other languages increasingly invade English plays, and how their significance is illuminated by developments in Church and state, in particular the advancing Reformation and expanding English nationalism. In marked contrast to other related studies, Dillon focuses on drama as performance and employs a wide range of works, from the mystery cycles to The Spanish Tragedy, and finally Shakespeare.
This study explores the use of other languages, especially Latin, in medieval and Renaissance English drama. Until the medieval period Latin was regarded as the sacramental language of authority, but in the newly politicized linguistic arena of the late fourteenth century it became a symbol of the potential enemy from Rome. In this book Janette Dillon examines why, during the period 1400 to 1600, other languages increasingly invade English plays, and how their significance is illuminated by developments in Church and state, in particular the advancing Reformation and expanding English nationalism. In marked contrast to other related studies, Dillon focuses on drama as performance and employs a wide range of works, from the mystery cycles to The Spanish Tragedy, and finally Shakespeare.
This book explores the vital and interactive relationship between city and court in the drama of Shakespeare's time. The growth of purpose-built playhouses in late sixteenth-century London began to shift the focus of performance for many companies away from provincial touring, making the city a more conspicuous presence in drama. Janette Dillon looks at relations between drama and city through the wider lens of fashion and commercialism, examining in particular the developing 'West End' area along the Strand. She argues that the drama is oriented towards both the city of London and the court, rather than to one or the other, as previous studies have assumed. The book is organized around physical and social forms of theatre space. It ranges from analysis of well-known plays, such as Shakespeare's Love's Labour's Lost and Jonson's Epicoene, to lesser-known drama by Heywood and the newly discovered Jonsonian entertainment, Britain's Burse.
Macbeth clutches an imaginary dagger; Hamlet holds up Yorick's skull; Lear enters with Cordelia in his arms. Do these memorable and iconic moments have anything to tell us about the definition of Shak
Where was the chair of Mary Queen of Scots placed for her trial? How was Smithfield set up for public executions? How many paces did the King walk forward to meet a visiting ambassador in the Presence Chamber at Greenwich? How were spectators arranged at tournaments? And why did any of this matter? Janette Dillon adds a new dimension to work on space and theatricality by providing a comparative analysis of a range of spectacular historical events. She investigates in detail the claim that early modern court culture was always inherently performative, demonstrating how every kind of performance was shaped by its own space and place. Using a range of evidence, visual as well as verbal, and illustrated with some unfamiliar as well as better known images, Dillon leads the reader to general principles and conclusions via a range of minutely observed case studies.
This introduction offers an overview of early English theatre from the earliest recorded vernacular texts in the late medieval period to the closing of the theatres in 1642. Where most existing studies focus on one side or the other of an imaginary boundary between 'medieval' and 'early modern' or 'Renaissance' drama, this book examines the theatre of nearly three centuries in a way that highlights continuities as well as divisions. The study is organised into five subject-based chapters: Place and space; Actors and audiences; Writers, controllers and critics; Genre and tradition; Instruction and spectacle. It includes full chronologies, helpful text boxes and over twenty illustrations.
Where was the chair of Mary Queen of Scots placed for her trial? How was Smithfield set up for public executions? How many paces did the King walk forward to meet a visiting ambassador in the Presence Chamber at Greenwich? How were spectators arranged at tournaments? And why did any of this matter? Janette Dillon adds a new dimension to work on space and theatricality by providing a comparative analysis of a range of spectacular historical events. She investigates in detail the claim that early modern court culture was always inherently performative, demonstrating how every kind of performance was shaped by its own space and place. Using a range of evidence, visual as well as verbal, and illustrated with some unfamiliar as well as better known images, Dillon leads the reader to general principles and conclusions via a range of minutely observed case studies.
