An extensive history of The Royal Shakespeare Company's studio theatre, Studio Shakespeare: The Royal Shakespeare Company at The Other Place also includes a biography of its founder and first artistic director, Mary Ann 'Buzz' Goodbody (1947-75).
An extensive history of The Royal Shakespeare Company's studio theatre, Studio Shakespeare: The Royal Shakespeare Company at The Other Place also includes a biography of its founder and first artistic director, Mary Ann 'Buzz' Goodbody (1947-75).
Although previous scholarship has acknowledged the importance of the visual arts to the Brontes, relatively little attention has been paid to the influence of music, theatre, and material culture on the siblings' lives and literature.
Although previous scholarship has acknowledged the importance of the visual arts to the Brontes, relatively little attention has been paid to the influence of music, theatre, and material culture on the siblings' lives and literature.
The first in-depth study of Catherine the Great's plays and opera libretti, this book provides analysis and critical interpretation of the dramatic works by this eighteenth-century Russian Empress.
The first in-depth study of Catherine the Great's plays and opera libretti, this book provides analysis and critical interpretation of the dramatic works by this eighteenth-century Russian Empress.
Proposing an original and important re-conceptualization of Italian Renaissance drama, Kristin Phillips-Court here explores how the intertextuality of major works of Italian dramatic literature is not only poetic but also figurative.
Proposing an original and important re-conceptualization of Italian Renaissance drama, Kristin Phillips-Court here explores how the intertextuality of major works of Italian dramatic literature is not only poetic but also figurative.
Unlike collections of essays which focus on a single century or whose authors are drawn from a single discipline, this collection reflects the myriad performance options available to London audiences, offering readers a composite portrait of the music, drama, and dance productions that characterized this rich period.
Unlike collections of essays which focus on a single century or whose authors are drawn from a single discipline, this collection reflects the myriad performance options available to London audiences, offering readers a composite portrait of the music, drama, and dance productions that characterized this rich period.
Focusing on European tragicomedy from the early modern period to the theatre of the absurd, Verna Foster here argues for the independence of tragicomedy as a genre that perceives and communicates human experience differently from the various forms of tragedy, comedy, and the drame (serious drama that is neither comic nor tragic).
Focusing on European tragicomedy from the early modern period to the theatre of the absurd, Verna Foster here argues for the independence of tragicomedy as a genre that perceives and communicates human experience differently from the various forms of tragedy, comedy, and the drame (serious drama that is neither comic nor tragic).
In studying one of the world's oldest and most enduring musical cultures, academics have consistently missed one of the richest forms of Chinese cultural expression: performed narratives.
In studying one of the world's oldest and most enduring musical cultures, academics have consistently missed one of the richest forms of Chinese cultural expression: performed narratives.
Based on primary sources, many of which have never been published or examined in detail, this book examines the music of the late seventeenth-century composers, Biber, Schmeltzer and Muffat, and the compositions preserved in the extensive Moravian archives in Kromeriz.
Based on primary sources, many of which have never been published or examined in detail, this book examines the music of the late seventeenth-century composers, Biber, Schmeltzer and Muffat, and the compositions preserved in the extensive Moravian archives in Kromeriz.
In the first full-length study of the English dancer-actress Hester Santlow, Moira Goff focuses on her unusual career at Drury Lane between 1706 and 1733.
In the first full-length study of the English dancer-actress Hester Santlow, Moira Goff focuses on her unusual career at Drury Lane between 1706 and 1733.
Elizabeth Cooper's The Rival Widows, or Fair Libertine provides a unique opportunity to restore to scholarly and pedagogical attention a neglected female writer and a play with broad and significant implications for studies of eighteenth-century history, culture and gender.
Elizabeth Cooper's The Rival Widows, or Fair Libertine provides a unique opportunity to restore to scholarly and pedagogical attention a neglected female writer and a play with broad and significant implications for studies of eighteenth-century history, culture and gender.
This is the first ever English translation of Sir David Lindsay's masterpiece of 16th-century Scottish political theatre, Ane Pleasant Satyre of the Thrie Estaitis in Commendatioun of Vertew and Vituperatioune of Vyce.
This is the first ever English translation of Sir David Lindsay's masterpiece of 16th-century Scottish political theatre, Ane Pleasant Satyre of the Thrie Estaitis in Commendatioun of Vertew and Vituperatioune of Vyce.
Author John Staines here argues that sixteenth- and seventeenth-century writers in England, Scotland, and France wrote tragedies of the Queen of Scots - royal heroine or tyrant, martyr or whore - in order to move their audiences towards political action by shaping and directing the passions generated by the spectacle of her fall.
In this book, Susan Mandala offers a series of in-depth investigations into how the dialogue of four modern plays 'works' with respect to the pragmatic and discoursal norms postulated for ordinary conversation.
In this book, Susan Mandala offers a series of in-depth investigations into how the dialogue of four modern plays 'works' with respect to the pragmatic and discoursal norms postulated for ordinary conversation.
In 1767, more than a century before Germany was incorporated as a modern nation-state, the city of Hamburg chartered the first Deutsches Nationaltheater.
In 1767, more than a century before Germany was incorporated as a modern nation-state, the city of Hamburg chartered the first Deutsches Nationaltheater.
Framed by the publication of Leviathan and the 1713 Licensing Act, this collection provides analysis of both canonical and non-canonical texts within the scope of an eighty-year period of theatre history, allowing for definition and assessment that uncouples Restoration drama from eighteenth-century drama.
Framed by the publication of Leviathan and the 1713 Licensing Act, this collection provides analysis of both canonical and non-canonical texts within the scope of an eighty-year period of theatre history, allowing for definition and assessment that uncouples Restoration drama from eighteenth-century drama.
In this major reassessment of his subject, Richard Rowland restores Thomas Heywood-playwright, miscellanist and translator-to his rightful place in early modern theatre history.
In this major reassessment of his subject, Richard Rowland restores Thomas Heywood-playwright, miscellanist and translator-to his rightful place in early modern theatre history.
Thomas Lodge was the most versatile of the pioneering professional writers of the English Renaissance, experimenting in an astonishing variety of forms.
Thomas Lodge was the most versatile of the pioneering professional writers of the English Renaissance, experimenting in an astonishing variety of forms.
The current surge of interest in the Elizabethan poet, dramatist, prose-writer and critic, Thomas Nashe, follows years of neglect or undisguised hostility.
The current surge of interest in the Elizabethan poet, dramatist, prose-writer and critic, Thomas Nashe, follows years of neglect or undisguised hostility.
This book provides actors, directors, teachers and students with a clear, practical guide to applying the work of influential theatre practitioner Jacques Lecoq to the process of rehearsing or workshopping the Shakespeare text.
Author John Staines here argues that sixteenth- and seventeenth-century writers in England, Scotland, and France wrote tragedies of the Queen of Scots - royal heroine or tyrant, martyr or whore - in order to move their audiences towards political action by shaping and directing the passions generated by the spectacle of her fall.
Engaging with recent thinking about performance, political theory and canon formation, this study addresses the significance of the formal changes in seventeenth-century French theater.
Engaging with recent thinking about performance, political theory and canon formation, this study addresses the significance of the formal changes in seventeenth-century French theater.
As the first book-length study of waterborne festivities in Renaissance and early modern Europe, this collection of essays draws on a rich array of sources, many previously un-researched, to explore aspects of scenography, choreography, music, fashion, painting, sculpture, architecture, stage-and personnel-management and urban planning as evinced in spectacles staged on water.
As the first book-length study of waterborne festivities in Renaissance and early modern Europe, this collection of essays draws on a rich array of sources, many previously un-researched, to explore aspects of scenography, choreography, music, fashion, painting, sculpture, architecture, stage-and personnel-management and urban planning as evinced in spectacles staged on water.
Offering evidence of women's extensive contributions to the theatrical landscape, this volume sharply challenges the assumption that the stage was 'all male' in early modern England.
