Netiqueta, Cortesía, Estrategia y Sabiduría

 Netiqueta, Cortesía, Estrategia y Sabiduría https://www.academia.edu/20369412/

Teatro: Otras áreas

 Teatro: Otras áreas https://bibliojagl.blogspot.com/2023/10/teatro-otras-areas.html

George H. Mead and the Social Self

El yo relacional

Un día feliz

Tercer Cuerpo

Bibliografía sobre Hamlet

Retropost, 2013: Bibliografía sobre Hamlet https://vanityfea.blogspot.com/2013/10/bibliografia-sobre-hamlet.html

Teatro español (A Bibliography)

 Teatro español (A Bibliography) https://bibliojagl.blogspot.com/2023/10/teatro-espanol.html

Henry V (Kenneth Branagh)

La ficción como escultura mental: Sobre Una Obra de Arte

 La ficción como escultura mental: Sobre Una Obra de Arte https://www.academia.edu/26720976/

Hagoromo

XI Muestra de Teatro Amateur Villa de Biescas

 

Harold Pinter: Arte, verdad y política

 

"Arte, verdad y política: Discurso de Harold Pinter al recoger el Premio Nobel de Literatura en 2005." La Casa de mi Tía 22 Oct. 2023.*

         https://www.lacasademitia.es/articulo/politica/arte-verdad-politica-discurso-harold-pinter-recoger-premio-nobel-literatura-2005/20231022215306145796.html

Teatro alemán

 Teatro alemán (A Bibliography): https://bibliojagl.blogspot.com/2023/10/teatro-aleman.html

Teatro francés

 Teatro francés (A Bibliography) https://bibliojagl.blogspot.com/2023/10/teatro-frances.html

The Cabal's Scenarios

 

On Narrative and Ritual

An interesting double lecture or conversation between Richard Sennett and Rowan Williams. Highly relevant for a discussion of the theatricality of daily life, and the narrative structuring of personal and collective selves.

La Noche de las Letras Vivientes

 

📣La Decana de @FacultadFiloZgz os invita a la celebración de la Víspera de la Noche de Difuntos, con la velada teatral: LA NOCHE DE LAS LETRAS VIVIENTES 💀
📆31 de octubre, a las 19 h
🏦 Salón de Actos del @CIFICEunizar
ℹ️ La entrada será libre hasta completar aforo pic.twitter.com/udVJiLk07j

— Facultad de Filosofía y Letras de Zaragoza (@FacultadFiloZgz) October 24, 2023

Introduction to Sociology - Selves and Interaction

  

 

Selves and Interaction Part 2

Tacho Sepia Tour

 

El ilustre teatro de Molière

Teatro norteamericano

 

Teatro norteamericano (A Bibliography) https://bibliojagl.blogspot.com/2023/10/teatro-norteamericano.html

 

 

Otros teatros anglófonos 

Oedipus the King

 

 

https://youtu.be/MRxDVhCQwPM

Oedipus the King. Sophocles' tragedy, trans. Paul Roche. Dir. Philip Saville. Adapt. Michael Luke and Philip Saville. Cast: Christopher Plummer, Orson Welles, Lilli Palmer, Richard Johnson, Cyril Cusack, Roger Livesey, Donald Sutherland. Art dir. Yiannis Migadis. Ed. Paul Davies. Photog. Walter Lassally. Music by Jani Christou. Assoc. Prod. Timothy Burrill. Prod. Michael Luke. 1968.

 

Elbphilharmonie LIVE | Philip Glass: Einstein on the Beach

Sur les planches de la scène

 Un passage du Côté de Guermantes (I) de Marcel Proust:

Mais le commencement de cette représentation m'intéressa d'une autre manière. Il me fit comprendre en partie la nature de l'illusion dont Saint-Loup était victime à l'égard de Rachel et qui avait mis un abîme entre les images que nous avions de sa maîtresse, Robert et moi, quand nous la voyions ce matin même sous les poiriers en fleurs. Rachel jouait un rôle presque de simple figurante, dans la petite pièce. Mais vue ainsi, c'était une autre femme. Rachel avait un de ces visages que l'éloignement — et pas nécessairement celui de la salle à la scène, le monde n'étant pour cela qu'un plus grand théâtre — dessine et qui, vus de plus près, retombent en poussière. Placé à côté d'elle, on ne voyait qu'une nébuleuse, une voie lactée de taches de rousseur, de tout petits boutons, rien d'autre. À une distance convenable, tout cela cessait d'être visible et, des joues effacées, résorbées, se levait, comme un croissant de lune, un nez si fin, si pur, qu'on aurait souhaité être l'objet de l'attention de Rachel, la revoir autant qu'on aurait voulu, la posséder auprès de soi, si jamais on ne l'avait vue autrement et de près! Ce n'était pas mon cas, mais c'était celui de Saint-Loup quand il l'avait vue jouer la première fois. Alors, il s'était demandé comment l'approcher, comment la connaître, en lui s'était ouvert tout un domaine merveilleux — celui où elle vivait — d'où émanaient des radiations délicieuses mais où il ne pourrait pénétrer. Il partit du théâtre se disant qu'il serait fou de lui écrire, qu'elle ne lui répondrait pas, tout prêt à donner sa fortune et son nom pour la créature qui vivait en lui dans un monde tellement supérieur à ces réalités trop connues, un monde embelli par le désir et le rêve, quand du théâtre, vieille petite construction qui avait elle-mêma l'air d'un décor, il vit à la sortie des artistes, par une porte, déboucher la troupe gaie et gentiment chapeautée des artistes qui avaient joué. Des jeunes gens qui les connaissaient étaient là à les attendre. Le nombre des pions humains étant moins nombreux que celui des combinaisons qu'ils peuvent former, dans une salle où font défaut toutes les personnes qu'on pouvait connaître, il s'en trouve une qu'on ne croyait jamais avoir l'occasion de revoir et qui vient si à point que le hasard semble providentiel, auquel pourtant quelque autre hasard se fût sans doute substitué si nous avions été on dans ce lieu mais dans un différent où seraient nés d'autres désirs et où se serait rencontrée quelque autre vieille connaissance pour les seconder. Les portes d'or du monde des rêves s'étaient refermées sur Rachel avant que Saint-Loup l'eût vue sortir du theâtre, de sorte que les taches de rousseur et les boutons eurent peu d'importance. Ils lui déplurent cependant, d'autant que, n'étant plus seul, il n'avait plus le même pouvoir de rêver qu'au théâtre. Mais elle, bien qu'il ne pût plus l'apercevoir, continuait à régir ses actes comme ces astres qui nous gouvernent par leur attraction, même penant les heures où ils ne sont pas visibles à nos yeux. Aussi, le désir de la comédienne aux fins traits qui n'étaient mêm pas présents au souvenir de Robert, fit que, sautant sur l'ancien camarade qui était là par hasard, il se fit présenter à la personne sans traits et aux taches de rousseur, puisque c'était la même, et en se disant que plus tard on aviserait de savoir laquelle des deux cette même personne était en réalité. Elle était pressée, elle n'adressa même pas, cette fois-là la parole à Saint-Loup, et ce ne fut qu'après plusieurs jours qu'il put enfin, obtenant qu'elle quittât ses camarades, revenir avec elle. Il l'aimait déjà. Le besoin de rêve, le désir d'être heureux par celle à qui on a rêvé, font que beaucoup de temps n'est pas nécessaire pour qu'on confie toutes ses chances de bonheur à celle qui quelques jours auparavant n'était qu'une apparition fortuite, inconnue, indifférente, sur les planches de la scène.

 

 

BURUNDANGA

¿Esto cuándo lo echan?

Parliamentary Speech on Excess Deaths

 

Teatro inglés contemporáneo

        from

A Bibliography of Literary Theory, Criticism and Philology

http://bit.ly/abibliog

by José Ángel García Landa

(University of Zaragoza, Spain)

 

 

 

21st-century English Drama

 

 

General

 

Dromgoole, Dominic. The Full Room: An A-Z of Contemporary Playwriting. London: Methuen, 2001.

Holdsworth, Nadine, and Mary Luckhurst, eds. A Concise Companion to Contemporary British and Irish Drama. Oxford: Blackwell, 2008.

Lane, David. Contemporary British Drama. (Edinburgh Critical Guides to Literature). Edinburgh: Edinburgh UP, 2010.*

Shank, Theodore. "The Multiplicity of British Theatre." In Contemporary British Theatre. London: Macmillan, 1996. 3-18.

Sierz, Aleks. Rewriting the Nation: British Theatre Today. Methuen Drama, 2011.

Sierz, Aleks, Martin Middeke and Peter Paul Schnierer, eds. The Methuen Drama Guide to Contemporary British Playwrights. Methuen Drama, 2011.

 

 

 

Miscellaneous

 

Adebayo, Mojisola, and Valerie Mason-John. "'No Straight Answers': Writing in the Margins, Finding Lost Heroes." New Theatre Quarterly 25.1 (2009): 6-21.

Billingham, Peter. At the Sharp End: Uncovering the Work of Five Contemporary Dramatists. London: A&C Black, 2007. (Interviews with British dramatists).

Bly, Mark. "Pressing an Ear Against a Hive or New Play Explorations in the Twenty-First Century." Theatre Topics 13.1 (2003): 19-22.

Dadswell, Sarah. "What Is This Thing Called British Asian Theatre?" Contemporary Theatre Review 19.2 (2009): 221-6.

Edgar, David. "Unsteady States: Theories of Contemporary New Writing." Contemporary Theatre Review 15.3 (2005): 297-308.

_____. "The Playwright's Still the Thing." The Guardian (Comment Is Free) 29 Jan. 2015.*

         http://www.theguardian.com/commentisfree/2015/jan/29/playwright-death-british-dramatist-exaggerated-surge-new-plays

         2015

Feature Issue: "A Forum on Black Theatre: The Questions: What Is a Black Play? and/or What Is Playing Black?" Theatre Journal 57 (2005). 571-616.

Flintoff, Ian. "Bloody Poor Show." New Statesman 21 June 2004. (New British drama).

Forsyth, Alison, ed. Get Real: Documentary Theatre Past and Present. Houndmills: Palgrave Macmillan, 2009.

Freeman, John. New Performance / New Writing. Houndmills: Palgrave Macmillan, 2007.

Godiwala, Dimple. "Kali: Providing a Forum for British-Asian Women Playwrights." Studies in Theatre and Performance 26.1 (2006): 69-83.

Gottlieb, Vera. "Theatre Today—The 'New Realities'." Contemporary Theatre Review 13.2 (2003): 5-14.

Hammond, Will, and Dan Steward, eds. Verbatim Verbatim: Contemporary Documentary Theatre. London: Oberon, 2008.

Harvie, Jen. Staging the UK. Manchester: Manchester UP, 2005.

Helmer, Judith, and Florian Malzacher, eds. Not Even a Game Anymore: The Theatre of Forced Entertainment. Berlin: Alexander Verlag, 2004.

Hoby, Hermione. "Is British Theatre Booming?" The Observer 14 June 2009.

Hughes, Jenny. "Theatre, Performance, and the 'War on Terror': Ethical and Political Questions Arising from British Theatrical Response to War and Terrorism." Contemporary Theatre Review 17.2 (2007): 149-64.

Johnson, Robert. "New Theatres—New Writing?" New Theatre Quarterly 19.3 (2003): 286-90.

Kellaway, Kate. "Theatre of War." The Guardian (August 2004).

Kritzer, Amelia H. Political Theatre in Post-Thatcher Britain, 1995-2005. Houndmills: Palgrave Macmillan, 2007.

Lane, David. "Introduction." In Lane, Contemporary British Drama. Edinburgh UP, 2010. 1-23.*

_____. "Chapter 1: In-Yer-Face Theatre and Legacies of the New Writing Boom." In Lane, Contemporary British Drama. Edinburgh UP, 2010. 24-57.* (Simon Stephens, Gregory Burke, Caryl Churchill).

_____. "Chapter 2: Verbatim Theatre—The Rise of a Political Voice." In Lane, Contemporary British Drama. Edinburgh UP, 2010. 58-81.*

_____. "Chapter 3: Writing and Devising—The Call for Collaboration." In Lane, Contemporary British Drama. Edinburgh UP, 2010. 82-107.* (David Eldridge, Bryony Lavery, Hidden City Festival, Cartoon de Salvo).

_____. "Chapter 4: Black and Asian Writers—A Question of Representation." In Lane, Contemporary British Drama. Edinburgh UP, 2010. 108-32.*

_____. "Chapter 5: Theatre for Young People—Audiences of Today." In Lane, Contemporary British Drama. Edinburgh UP, 2010. 133-56.* (Edward Bond, Fin Kennedy)

_____. "Chapter 6: Adaptation and Transposition—Reinterpreting the Past." In Lane, Contemporary British Drama. Edinburgh UP, 2010. 157-87.* (Filter, Punchdrunk, Kneehigh, Northern Broadsides, Headlong Theatre).

_____. "Conclusion. Student resources." In Lane, Contemporary British Drama. Edinburgh UP, 2010. 188-215.*

Leach, Robert. "The Short, Astonishing History of the National Theatre of Scotland." New Teatre Quarterly 23.2 (2007): 171-83.

Ley, Graham, and Sarah Dadswell, eds. British South Asian Theatres: A Documented History. Exeter: U of Exeter P, forthcoming 2010.

Middeke, Martin, Peter Paul Schnierer and Aleks Sierz, eds. The Methuen Drama Guide to Contemporary British Playwrights. London: Bloomsbury-Methuen Drama, 2011.*

"New Writing: The TheatreVoice Debate." Theatre Voice 28 May 2009.

         http://www.theatrevoice.com

         2009

Nickevic, Sanja. "British Brutalism, the 'New European Drama', and the Role of the Director." New Theatre Quarterly 21.3: 255-72.

Norton-Taylor, Richard. "Courtroom Drama." The Guardian 4 Nov. 2003.

Osborne, Deirdre. "Writing Black Back: An Overview of Black Theatre and Performance in Britain." In Alternatives within the Mainstream: British Black and Asian Theatres. Ed. Dimple Godiwala. Newcastle: Cambridge Scholars Press, 2006. 82-100.

_____. "'Know Whence You Came': Dramatic Art and Black British Identity." New Theatre Quarterly 23.3 (2007): 253-63.

Parks, Suzan-Lori. "New Black Math." Theatre Journal 57 (2005): 576-83.

Phillips, Caryl. "Lost Generation." The Guardian 23 April 2005.

Rebellato, Dan. Theatre and Globalization. Houndmills: Palgrave Macmillan, 2009.

Reid, Trish. "'From Scenes Like This, Old Scotia's Grandeur Springs': The New National Theatre of Scotland." Contemporary Theatre Review 17.2 (2007): 192-201.

Rutter, Barrie. "A National Narrative." Panel at All Together Now? British Theatre after Multiculturalism. Warwick U, 13-14 June 2009.

         http://www2.warwick.ac.uk/newwsandevents/audio/more/atn

         2009

Schwanecke, Christine. "9. Conclusion: 'The Contextual Dynamics of Dramatic Storytelling' and the 'Performative Power of Narrative in British Plays'." In Schwanecke, A Narratology of Drama. Berlin and Boston: de Gruyter, 2022. 358- 78.* (Function of drama, British drama).

         https://doi.org/10.1515/9783110724110

         https://www.degruyter.com/document/doi/10.1515/9783110724110/html

         2022

Scullion, Adrienne. "The Citizenship Debate and Theatre for Young People in Contemporary Scotland." New Theatre Quarterly 24.4 (2008): 379-93.

Sextou, Persephone. "Theatre in Education in Britain: Current Practice and Future Potential." New Theatre Quarterly 19.2 (2003): 177-88.

Sierz, Aleks. "Still In-Yer-Face? Towards a Critique and a Summation." New Theatre Quarterly 18.1 (2002). 17-24.

_____. "'Art Flourishes in Times of Struggle': Creativity, Funding and New Writing." Contemporary Theatre Review 13.1 (2003): 33-45.

_____. "'Big Ideas' for Big Stages, 2004." New Theatre Quarterly 21.1 (2004): 96-98.

_____. "'Me and My Mates': The State of English Playwriting, 2003." New Theatre Quarterly 20.1 (2004): 79-83.

_____. "Beyond Timidity? The State of British New Writing." PAJ: A Journal of Performance and Art 81 (2005). 55-61.

_____. "Can Old Forms Be Reinvigorated? Radical Populism and New Writing in British Theatre Today." Contemporary Theatre Review 16.3 (2006): 301-11.

_____. "New Writing 2006." Contemporary Theatre Review 16.3 (2006): 371-3.

_____. "Reality Sucks: The Slump in British New Writing." PAJ: A Journal of Performance and Art 89 (2008): 102-7.

Williams, Roy. "What Kind of England Do We Want?" New Theatre Quarterly 22.2 (2006): 113-21.

Wroe, Nicholas. "Courtroom Dramas." The Guardian 24 July 2004.

 

 

 

 

 

 

 

 

Audio

 

Bassett, Kate, et al. "Leading London Theatre Critics in the Spotlight." Audio debate. Backdoor Broadcasting Company 26 Feb. 2010.* (Kate Bassett, Lyn Gardner, Mark Shenton, Ian Shuttleworth).

         http://backdoorbroadcasting.net/2010/02/leading-london-theatre-critics-in-the-spotlight/

         2014

 

 

 

Blogs

 

                 

The Guardian Theatre Page and Blog

         http://www.guardian.co.uk/stage/theatre

 

Shenton's View

         http://blogs.thestage.co.uk/shenton

 

Theatre blog at the Guardian. (Andy Field)

 

 

 

 

 

 

 

Internet resources

 

 

British Theatre Guide

         http://www.britishtheatreguide.info

 

Dramaturg's Network

         http://ee.dramaturgy.com.uk

 

In Yer Face Theatre

         http://www.inyerface-theatre.com

 

Modern Theatre and Playwrights Online

         http://doollee.com

 

National Theatre Platform Paper Transcripts

         http://www.nationaltheatre.org.uk/8237/platforms/platform-transcripts.html

 

What's on Stage

         http://www.whatsonstage.com

 

YouTube (TheaterTalk).*

         https://www.youtube.com/c/theatertalk/videos

         2020

 

 

 

Journals

 

 

British Theatre Guide

 

 

 

 

 

 

See also: Edward Bond; Gregory Burke; David Hare; Kevin Spacey; Tom Stoppard; Richard Norton-Taylor; Mark Ravenhill; Simon Stephens

 

See also: Bartlett, Mike; Bean, Richard; Betts, Kate; Bhatti, Gurpreet; Blythe, Alecky; Brace, Adam; Brittain, Victoria; Cheeseman, Peter; Crimp, Martin; green, tucker; Harrower, David; Kwei-Armah, Kwame; Lenkiewicz, Rebecca; McDonagh, Martin; Mitchell, Katie; Neilson, Anthony; Neilson, Mark; Norton-Taylor, Richard; Soans, Robin; Stenham, Polly; Slovo, Gillian; Williams, Roy. (Dramatist, member of the "Monsterist" group); Craig, Ryan. (Dramatist, member of the "Monsterist" group); Bean, Richard. (Dramatist, member of the "Monsterist" group); Eldridge, David. (Dramatist, member of the "Monsterist" group);

 

 

 

 

Companies: 7.84; Cartoon de Salvo; Filter; Forced Entertainment; Frantic Assembly; Joint Stock; Kneehigh Theatre; Quarantine Theatre; Nitro; Red Ladder

 

 

 

 

 

NO HAY EMERGENCIA CLIMÁTICA

 

PHYSICS NOBEL PRIZE 2022
SIGNED CLIMATE DECLARATION:
THERE IS NO CLIMATE EMERGENCY ‐ CLAUSER & a global network of over 1,609 scientists and professionals has prepared this urgent message:

Natural as well as anthropogenic factors cause warming

The geological archive reveals… pic.twitter.com/eZsELnVTPI

— Robin Monotti (@robinmonotti) October 20, 2023

Madres Paralelas

 

Cinco Lobitos

 

Teatro inglés del siglo XX (A Bibliography)

 Teatro inglés del siglo XX (A Bibliography) https://bibliojagl.blogspot.com/2023/10/teatro-ingles-del-siglo-xx.html

Malos tiempos para la lírica

Teatro inglés del siglo XIX (A Bibliography)

 Teatro inglés del siglo XIX (A Bibliography) https://bibliojagl.blogspot.com/2023/10/teatro-ingles-del-siglo-xix.html

Garrick, Shakespeare, y la paradoja del comediante

 

Retropost, 2013:

 

En su diálogo crítico Paradoxe sur le comédien (escrito hacia 1773, publicado en 1830) Diderot enfrentaba dos tesis contrapuestas sobre la actuación teatral. Uno de los interlocutores (el segundo) sostiene allí la tesis convencional de que los grandes actores son seres de una sensibilidad extrema. Son capaces de sentir profundamente, y de revivir en sí mismos las emociones de los personajes que interpretan, lo cual les da su capacidad superior de expresar y de comunicar estos sentimientos. Es un poco la tesis Stanislavsky, si se quiere (ya se ve que haría fortuna otra vez en el siglo XX): el actor debe identificarse con el personaje, transformarse en él, y luego actuar movido espontáneamente desde dentro, movido de manera natural por las pasiones que siente o por la personalidad que le ha poseído.

El otro interlocutor, el primero, portavoz de Diderot, lleva a un extremo la tesis contraria, y en cierto sentido no menos convencional. A saber, que el actor no siente realmente lo que comunica, sino que está fingiendo, imitando, sin implicar sus emociones reales, sino meramente haciendo una recreación racional de los signos externos de la emoción. Una actuación, puro teatro.

Algo hay en estas tesis así formuladas que ofende al sentido común, pues en cierto sentido queremos creer en las dos. No es ésa sin embargo la paradoja señalada por Diderot (aunque sí es la paradoja que yo veo); la paradoja de Diderot está contenida íntegramente en la segunda tesis—la del primer interlocutor, no se me líen. Que el actor no siente ni padece, pero es capaz de imitar, comunicar y transmitir esos sentimientos tanto mejor cuanto menos de su propia sensibilidad esté implicada en la representación del papel. La actuación es, nos dice Diderot a través de su primer interlocutor, una actividad eminentemente racional, y no pasional ni emocional; se basa en una recreación racional del personaje, no en una identificación emotiva con él.

En este pasaje ambos interlocutores parecen estar de acuerdo ya, pues describen esa tesis "paradójica" aplicándola tanto al teatro como a la teatralidad de la vida social en la corte:

LE PREMIER (...)
Je te prends à témoin, Roscius anglais, célèbre Garrick, toi qui, du consentement unanime de toutes les nations subsistantes passes pour le premier comédien qu'elles aient connu, rends hommage à la vérité! Ne m'as tu pas dit que, quoique tu sentisses fortement, ton action serait faible, si, quelle que fût la passion ou le caractère que tu avais à rendre, tu ne savais t'élever par la pensée à la grandeur d'un fantôme homérique auquel tu cherchais à t'identifier? Lorsque je t'objectai que ce n'était donc pas d'après toi que tu jouais, confesse ta réponse: ne m'avouas-tu pas que tu t'en gardais bien, et que tu ne paraissais si étonnant sur la scène, que parce que tu montrais sans cesse au spectacle un être d'imagination qui n'était pas toi?

LE SECOND
L'âme d'un grand comédien a été formée de l'élément subtil dont notre philosophe remplissait l'espace qui n'est ni froid, ni chaud, ni pesant, ni léger, qui n'affecte aucune forme déterminée, et qui, également susceptible de toutes, n'en conserve aucune.

LE PREMIER
Un grand comédien n'est ni un piano-forté, ni une harpe, ni un clavecin, ni un violon ni un violoncelle; il n'a point d'accord qui lui soit propre; mais il prend l'accord et le ton qui conviennent à sa partie, et il sit se prêter à toutes. J'ai une haute idée du talent d'un grand comédien: cet homme est rare, aussi rare et peut-être plus grand que le poète.
    Celui qui dans la société se propose et a le malheur de plaire à tous, n'est rien, n'a rien qui lui appartienne, qui le distingue, qui engoue les uns et qui fatigue les autres. Il parle toujours, et toujours bien; c'est un adulateur de profession, c'est un grand courtisan, c'est un grand comédien.

LE SECOND
Un grand courtisan, accoutumé, depuis qu'il respire, au rôle d'un pantin merveilleux, prend toutes sortes de formes, au gré de la ficelle qui est entre les mains de son maître.

LE PREMIER
Un grand comédien est un autre pantin merveilleux dont le poète tient la ficelle, et auquel il indique à chaque ligne la véritable forme qui'il doit prendre.

LE SECOND
Ainsi un courtisan, un comédien, qui ne peuvent prendre qu'une forme, quelque belle, quelque intéressante qu'elle soit, ne son que deux mauvais pantins?

Diderot se recrea en su tesis narrando incongruencias entre los dos niveles de actuación de los actores, en tanto que personaje y en tanto que actor en la escena—una actriz se sale del personaje para recriminar al público y vuelve a entrar en él inmediatamente.... O bien, mientras la dama-personaje abraza y besa a su galán convincentemente, la actriz le está diciendo al actor "esta noche hueles que apestas"—etc.; Son ejemplos en los que los actores no "se meten" en el personaje, sino que sólo lo proyectan exteriormente, en un ejercicio controlado y racional. 

Y sin embargo también ha de admitir le premier el poder de enajenación del actor, su versatilidad especial a la hora de materializar un personaje, con una capacidad de transformación que maravilla en grandes actores como Garrick. Es una ficción enormemente lograda—o, enormemente lograda, pero sólo una ficción, sin asomo de sentimiento real de la persona que interpreta. Eso inquieta y molesta al segundo interlocutor, que se siente estafado y quiere ir al teatro a sentir emociones auténticas—quizá sienta que las emociones del espectador se ven contagiadas de esa falta de realidad que le expone la paradoja del comediante:

LE SECOND
C'est à me dégoûter du théâtre.

LE PREMIER
Et pourquoi? Si ces gens-là n'étaient capables de ces tours de force, c'est alors qu'il n'y faudrait pas aller. Ce que je vais vous raconter, je l'ai vu.
    Garrick passe sa tête entre les deux battants d'une porte, et, dans l'intervalle de quatre à cinq secondes, son visage passe successivement de la joie folle à la joie modérée, de cette joie à la tranquillité, de la tranquillité à la surprise, de la surprise à l'étonnement, de l'étonnement à la tristesse, de la tristesse à l'abattement, de l'abattement à l'effroi, de l'effroi à l'horreur, de l'horreur au désespoir, et remonte de ce dernier degré à celui d'où il était descendu. Est-ce que son âme a pu éprouver toutes ces sensations et éxecuter, de concert avec son visage, cette espèce de gamme? Je n'en crois rien, ni vous non plus. Si vous demandiez à cet homme célèbre, qui lui seul méritait autant qu'on fît le voyage d'Angleterre que tous les restes de Rome méritent qu'on fasse le voyage d'Italie; si vous lui demandiez, dis-je, la scène du Petit Garçon pâtissier, il vous la jouait; si vous lui demandiez tout de suite la scène d'Hamlet, il vous la jouait, également prêt à pleurer la chute de ses petits pâtés et à suivre dans l'air le chemin d'un poignard. Es-ce qu'on rit, est-ce qu'on pleure à discrétion? On en fait la grimace plus ou moins fidèle, plus ou moins trompeuse, selon qu'on est ou qu'on n'est pas Garrick.

Por cierto que Diderot parece confundir aquí dos escenas que debió ver interpretar a Garrick, la escena del puñal de Hamlet, y la escena del puñal de Macbeth—es en Macbeth donde el protagonista sigue en el aire el camino de un puñal, pero seguramente cuando Garrick actuó ante Diderot, en algún salón literario, los dos puñales eran puramente mentales, o uno de los dos doblemente mental si se quiere.

Diderot, o "le premier", cita precedentes para su paradoja—

Au reste, la question que j'approfondis a été autrefois entamée entre un médiocre littérateur, Rémond de Saint-Albine, et un grand comédien, Riccoboni. Le littérateur plaidait la cause de la sensibilité, le comédien plaidait la mienne. C'est une anecdote que j'ignorais et que je viens d'apprendre.

—aquí se echa de ver cómo Diderot fue componiendo su diálogo a lo largo de una temporada, e intercambiando ideas con otros interlocutores aparte de "el segundo". De todos modos, también ha citado a Garrick como otro gran actor que comparte su tesis, frente a la simplista creencia sentimentalista de Rémond de Saint-Albine o de "el segundo", muy propia de la era de la sensibilidad (y hay que decir que el mismo Diderot tiene mucho de sentimental en su estilo dramático). 

También podría Diderot citar a Shakespeare, quizá, en ese famoso episodio en el que Hamlet da instrucciones a los actores que van a representar "La Ratonera", teatro dentro del teatro. Allí les recomienda Hamlet un modo de actuar natural, evitando la grandilocuencia y la exageración—"cualquier cosa hecha en demasía se aparta de la finalidad del teatro"; especifica que debe operar el control, la racionalidad podríamos decir, aun en medio de la pasión de la actuación:

in the very torrent, tempest, and as I may say the whirlwind of your passion, you must acquire and beget a temperance that may give it smoothness. (Hamlet 3.2)

Y, meditando sobre el contraste entre sus propias emociones y las emociones representadas en la escena por los actores, Hamlet considera a éstas no emociones auténticas, sino "a fiction", "a dream of passion"—una ficción invocada forzando el alma para adaptarla a una idea, a una concepción (la creada por el poeta). Obsérvese sin embargo cómo es toda el alma y el cuerpo del actor los que se adaptan para hacer vívida y presente esa idea, según Hamlet. Y Hamlet sueña con un teatro imposible, casi posible aquí por el juego metadramático, en el que el actor fundiría ficción y realidad, actuando ante el público con sentimientos auténticos—una actuación tal que ahogaría el escenario en lágrimas, enloquecería a los culpables y dejaría abatidos a los inocentes, confundiendo a los ignorantes y pasmando a la vista y al oído. Parece que Shakespeare, o Hamlet, aun reconociendo la paradoja del comediante, se ve tentado de confundir en uno realidad y ficción, en un espectáculo total (lo que en cierto modo es lo que sucede en el final de The Spanish Tragedy de Kyd, y en cierto modo en el propio Hamlet). Sería la apoteosis del teatro sentimental, y a la vez un espectáculo dramático tan extremo como lo es la vida misma.

Garrick se hizo famoso, sobre todo, con sus papeles shakespeareanos. Y es curioso que la tesis de Diderot sobre el comediante, también aplicada por él de refilón a los poetas, se ha aplicado con especial énfasis en el caso de Shakespeare, poeta comediante, o dramaturgo actor.  Recuérdese la disquisición de Coleridge en Biographia Literaria, contrastando las figuras de Shakespeare y Milton. Milton es monocolor o monológico: trata de todas las cosas del universo pero las convierte en él mismo; Shakespeare, en cambio, es plástico y fluido, nos da la abundancia de la humanidad ("here is God's plenty", decía Dryden) pero en su multiplicidad original, desapareciendo de la escena él mismo, y dando paso a sus caracteres, hablando a través de ellos pero perfectamente transfigurado en ellos. Claro que aquí se enfatiza más bien la capacidad de transformación que la modalidad específica de esa transformación o la manera de lograrla.

También Borges habla de la curiosa falta de sustancia de Shakespeare, en este pasaje que podríamos considerar como la mejor página jamás escrita sobre Shakespeare. Y en su reciente biografía de Shakespeare, Peter Ackroyd terminaba un tanto pasmado ante la incapacidad de deducir una personalidad o persona concreta detrás de la obra de Shakespeare, hasta tal punto se diluye éste entre sus caracteres.

No sé cuál es la solución a la paradoja. Pero un curioso punto de encuentro con la tesis contraria aparece en el interlocutor primero cuando, con toda su defensa de la racionalidad del actor, ha de concluir sin embargo en proporcionarle una especie de carencia de personalidad, o de sustancialidad plegable y vacía, amoldable a todo carácter. Es una racionalidad que opera sobre una materia especialmente amoldable, o sobre una especie de ausencia de sí. El perfecto actor es un perfecto sin sustancia—y hasta allí quizá podríamos llegar. Lo llamativo y paradójico es que se pueda aplicar el mismo argumento al perfecto poeta. Pero así nos lo decía el propio Shakespeare, o quizá Teseo, en A Midsummer Night's Dream:

Lovers and madmen have such seething brains,
Such shaping fantasies, that apprehend
More than cool reason ever comprehends.
The lunatic, the lover, and the poet
Are of imagination all compact.
One sees more devils than vast hell can hold:
That is the madman. The lover, all as frantic,
Sees Helen's beauty in a brow of Egypt.
The poet's eye, in a fine frenzy rolling,
Doth glance from heaven to earth, from earth to heaven,
And as imagination bodies forth
The forms of things unknown, the poet's pen
Turns them to shapes, and gives to airy nothing
A local habitation and a name.

Y esta airy nothing que quizá destila el poeta de su propia carencia de sustancia concreta me recuerda, por último, a otro diálogo sobre la insustancialidad del poeta y del actor—Ion, de Platón, la primera obra de crítica poética y teatral quizá, en la tradición occidental. El poeta, el actor, el personaje, el rapsoda que los combina a los tres, son ahí seres de aire, sin sustancia propia:

the craft of the poet is light and winged and holy, and he is not capable of poetry until he is inspired by the gods and out of his mind and there is no reason in him. Until he gets into this state, any man is powerless to produce poetry and to prophesy.

En suma, que la paradoja del comediante es todavía más paradójica de lo que parecía, porque la tesis racionalista de Diderot, una vez admite la plasticidad casi inhumana de la mente del actor, deriva casi espontáneamente en su contraria. La racionalidad expresada por el actor no es la suya propia, sino la transmitida por el poeta que se infunde en él. Y la racionalidad del poeta tiene mucho de transmisión inconsciente de fuerzas que él mismo es incapaz de analizar, por bien que las exprese convirtiéndose en un instrumento multiforme que no está perfectamente bajo control ni comprensión racional. 

Me inclino más bien, por tanto, hacia una síntesis de las dos posiciones antitéticas que aparecen en la Paradoja del comediante. La teoría de las neuronas espejo puede que lleve a iluminar cómo es posible que una emoción representada sea a la vez auténtica e inauténtica—realizada con los mismos mecanismos cognitivos que la experiencia auténtica, y sin embargo inhibida o modificada de manera que permite manipularla mejor y utilizarla como material de construcción de una experiencia virtual comunicable. Quizá un día la neurología nos informe mejor de qué es lo que pasa en el cerebro de los poetas, y de los actores, y de los espectadores que se unen hipnóticamente a la experiencia de la ficción. Con una cadena de anillos magnetizados lo comparaba Platón, en Ion: así los poetas, actores y espectadores extraen su energía unos de otros, y se la transmiten en un espacio mental que se abre para esa experiencia en medio de la realidad, y a la vez al margen de ella.

Acting and Mirror Neurons

Todo sobre Eva

 

The Pink Floyd Tribute Show

 





Remember when you were young...

Teatro inglés de la Restauración y el siglo XVIII

Teatro inglés de la Restauración y el siglo XVIII (A Bibliography): https://bibliojagl.blogspot.com/2023/10/teatro-ingles-de-la-restauracion-y-el.html

Wilde y el enigma de la Esfinge

 

Wilde y el enigma de la esfinge https://www.academia.edu/19838519/Wilde_y_el_enigma_de_la_esfinge

Mise en Hellish Abyme

 

 A road map to the present. Note the playbook Satan is following.

Poetry and Virginity

Retropost, 2013: 

A lecture on Milton's Comus, by John Rogers (Yale University)





 Milton's first publication, A Mask Presented at Ludlow Castle (a.k.a. Comus), is examined. Milton's vision of a poet's heaven in "Ad Patrem," paired with the letter to Charles Diodati, with its particular emphasis on the need for chastity in poets, is used as a springboard to a discussion of the depiction of sexual ideals in the masque. Revelation 14, 1 Corinthians, and the Apology for Smectymnuus are also discussed at length, as are the poet's biography and the history of the masque's title.

00:00 - Chapter 1. "Ad Patrem": A Poem to Milton's Father
08:33 - Chapter 2. "An Apology for Smectymnuus"
16:34 - Chapter 3. "Comus: A Mask Presented at Ludlow Castle"


Continuation, and second lecture on Milton's Comus: "Poetry and Marriage".



From a series of video lectures, a complete course, on Milton, at YouTube (YaleCourses).

Complete course materials are available at the Open Yale Courses website: http://open.yale.edu/courses

This course was recorded in Fall 2007.

Songs from Comus

 

—oOo—

Bardolatry in the Bud

 Retropost, 2013: Bardolatry in the Bud https://vanityfea.blogspot.com/2013/10/bardolatry-in-bud.html

'Time and the Conways' y la falacia narrativa

 'Time and the Conways' y la falacia narrativa https://personal.unizar.es/garciala/publicaciones/timeandtheconways.html

 

El tiempo y los Conway: https://personal.unizar.es/garciala/publicaciones/eltiempoylosconway.pdf

Kate Bush - Wogan - Rocket Man

Adiós a Vattimo

Teatro inglés renacentista (A Bibliography)

    from

A Bibliography of Literary Theory, Criticism and Philology

http://bit.ly/abibliog

by José Ángel García Landa

(University of Zaragoza, Spain)

 

 

Renaissance English drama (1500-1660)

 

General

Early works

Miscellaneous

 

 

General

 

Anglo, Sydney. Spectacle, Pageantry, and Early Tudor Policy. Oxford, 1969.

Alexander, Michael. "4. Shakespeare and the Drama." In Alexander, A History of English Literature. 2nd ed. Houndmills: Palgrave Macmillan, 2007. 107-37.*

Bentley, Gerald Eades. The Jacobean and Caroline Stage. 7 vols. Oxford: Clarendon, 1941-68.

Bevington, David. "14. Literature and the Theatre." In The Cambridge History of Early Modern English Literature. (3. The Era of Elizabeth and James VI). Ed. David Loewenstein and Janel Mueller. Cambridge: Cambridge UP, 2002. 2004. 428-56.*

Blamires, Harry. "Elizabethan Drama." In Blamires, A Short History of English Literature. 2nd ed. London: Routledge, 1989. 40-63.*

_____. "Jacobean Drama." In Blamires, A Short History of English Literature. 2nd ed. London: Routledge, 1989. 64-80.*

Braunmuller, A. R., and Michael Hattaway, eds. The Cambridge Companion to English Renaissance Drama. Cambridge: Cambridge UP, 1990. 2nd ed. Cambridge: Cambridge UP, 2003.

Breight, Curtis. Surveillance, Militarism and Drama in the Elizabethan Era. Houndmills: Macmillan, 1996.

Bristol, Michael D. Carnival and Theatre: Plebeian Culture and the Structure of Authority in Renaissance England. London: Methuen, 1985.

_____. Carnival and Theatre: Plebeian Culture and the Structure of Authority in Renaissance Britain. London: Routledge, 1990.

Brown, John Russell, and Bernard Harris, eds. Jacobean Theatre. (Stratford-upon-Avon Studies, 1). London: Arnold, 1960.

_____, eds. Jacobean Theatre. New York, 1967.

_____, eds. Elizabethan Theatre. London: Arnold, 1974.

Bulman, James. (Allegheny College, Meadville, Pennsylvania). "10. Caroline Drama." In The Cambridge Companion to English Renaissance Drama. Ed. A. R. Braunmuller and Michael Hattaway. 2nd ed. Cambridge: Cambridge UP, 2003.*

Burster, Douglas. Quoting Shakespeare: Form and Culture in Early Modern Drama. Lincoln: U of Nebraska P, 2001.

Butler, M. Theatre and Crisis 1632-1642. Cambridge: Cambridge UP, 1984.

_____. "19. Literature and the Theatre to 1660." In The Cambridge History of Early Modern English Literature. (4. The Earlier Stuart Era). Ed. David Loewenstein and Janel Mueller. Cambridge: Cambridge UP, 2002. 2004. 565-602.*

Chambers, Edmund K. The Elizabethan Stage. 4 vols. Oxford: Clarendon, 1923.

Clark, Eva Turner. "Elizabethan Stage Scenery More Elaborate Than Ordinarily Believed." Shakespeare Fellowship Newsletter (American Branch) (Oct. 1941). Rpt. in Shakespeare-Oxford.

http://www.shakespeare-oxford.com/?p=65

2007

Cohen, Walter. The Drama of a Nation: Public Theater in Renaissance England and Spain. Ithaca: Cornell UP, 1985.

Cotton, Nancy. Women Playwrights in England c. 1363-1750. Associated UPs, 1980.

Cox, John D., and David Scott Kastan, eds. A New History of Early English Drama. Foreword by Stephen Greenblatt. New York: Columbia UP, 1998.

Daiches, David. "Drama from the Miracle Plays to Marlowe." In Daiches, A Critical History of English Literature. 2 vols. London: Secker and Warburg, 1960. 208-45.*

_____. "Drama from Jonson to the Closing of the Theatres." In Daiches, A Critical History of English Literature. 2 vols. London: Secker and Warburg, 1960. 309-45.*

Dawson, Anthony B. "The Impasse over the Stage." English Literary Renaissance (1991): 309-327.

_____. "The Theatre in Elizabethan Culture," special introduction for Ardenonline (1998).

Díaz Fernández, José Ramón, Luciano García García, José Manuel González Fernández de Sevilla and Purificación Ribes. "El teatro inglés de la primera parte del siglo XVII hoy." In Actas XXVIII Congreso Internacional / International Conference AEDEAN. CD-ROM. Valencia: U de València, 2005.*

DiGangi, Mario. The Homoerotics of Early Modern Drama. Cambridge: Cambridge UP, 1997.

Dollimore, Jonathan. Radical Tragedy: Religion, Ideology and Power in the Drama of Shakespeare and His Contemporaries. Brighton: Harvester, 1984; Hemel Hempstead: Harvester Wheatsheaf, 1989.

_____. From Radical Tragedy. In Modern Literary Theory: A Reader. Ed. Philip Rice and Patricia Waugh. 3rd ed. London: Arnold, 1996. 159-72.*

Doran, Madeline. Endeavors of Art: A Study of Form in Elizabethan Drama. Madison: U of Wisconsin P, 1954.

Eliot, T. S. "Four Elizabethan Dramatists." 1924. In Eliot, Selected Essays. 3rd. ed. London: Faber, 1951. 109-17.

_____. Essays on Elizabethan Drama. New York, 1936.

_____. Essays on Elizabethan Drama. 1960. (? = Elizabethan Dramatists. London: Faber)

_____. Elizabethan Essays. London: Faber, 1934.

Enright, D. J. "Elizabethan and Jacobean Comedy." In The Age of Shakespeare. Vol. 2 of The New Pelican Guide to English Literature. Ed. Boris Ford. Harmondsworth: Penguin, 1982. Rev. 1993. 471-83.*

Finke, Laurie A. "Painting Women: Images of Femininity in Jacobean Tragedy." Theatre Journal 36 (1984): 357-70.

Foakes, R. A. "Playhouses and Players." In The Cambridge Companion to English Renaissance Drama. Ed. A. R. Braunmuller and Michael Hattaway. Cambridge: Cambridge UP, 1990. 1-52.

Gillies, John, and Virginia Mason Vaughan. Astrophil and Stella and Love's Labor's Lost." In Playing the Globe: Genre and Geography in English Renaissance Drama. Madison (NJ): Fairleigh Dickinson UP, 1998.

González Fernández de Sevilla, José Manuel. "Political Strategies of Drama in Renaissance England." Actas del I Congreso Nacional de la Sociedad Española de Estudios Renacentistas Ingleses (SEDERI) / Proceedings of the I National Conference of the Spanish Society for English Renaissance Studies. Ed. Javier Sánchez. Zaragoza: SEDERI, 1990.  95-104.*

Goodblatt, Chanita. Jewish and Christian Voices in English Reformation Biblical Drama: Enacting Family and Monarchy. (Routledge Studies in Renaissance Literature and Culture). London and New York: Taylor and Francis-Routledge, 2018.* 

         https://books.google.es/books?id=tClKDwAAQBAJ

         2018

Greenblatt, Stephen. Will in the World: How Shakespeare Became Shakespeare. New York and London: Norton, 2004.*

Gurr, Andrew. The Shakespearean Stage, 1574-1642. 3rd ed. Cambridge: Cambridge UP, 1992.*

_____. Playgoing in Shakespeare's London. Cambridge: Cambridge UP, 1987. 2nd ed. 1996.*

Harbage, Alfred. Cavalier Drama. Philadelphia, 1936.

Harrison, G. B. Elizabethan Plays and Players.

Hidalgo, Pilar. "Social Energy and Renaissance Drama." In Hidalgo, Paradigms Found: Feminist, Gay, and New Historicist Readings of Shakespeare. Amsterdam and Atlanta: Rodopi, 2001. 99-126.*

Howard, Jean E. The Stage and Social Struggle in Early Modern England.  London: Routledge, 1993.

_____. Theater of a City. Forthcoming 1999. (Early 17th drama).

Hunter, G. K. English Drama 1586-1642: The Age of Shakespeare. Vol. VI of The Oxford History of English Literature. Oxford: Clarendon Press, 1997. Rpt. 2008.* (Orig. English Drama 1586-1642: Shakespeare and His Age, numbered vol. IV part 2).

Ingram, William. The Business of Playing: The Beginnings of the Adult Public Theater in Elizabethan London. 1992.

Jardine, Lisa. Still Harping on Daughters: Women and Drama in the Age of Shakespeare.  Hemel Hempstead: Harvester Wheatsheaf, 1989.

Kamps, Ivo. Staging History: Historiography, Ideology, and Literary Form in the Stuart Drama. Forthcoming 1995.

Kastan, D., and P. Stallybrass, eds. Staging the Renaissance: Reinterpretations of Shakespearean and Jacobean Drama. Durham (NC): Duke UP, 1991.

Kaufmann, R. J., ed. Elizabethan Drama. Oxford: Oxford UP, 1961.

Kinney, Arthur F., ed. A Companion to Renaissance Drama. (Blackwell Companions to Literature and Culture). Wiley-Blackwell, 2004.

Klein, David. Literary Criticism from the Elizabethan Dramatists; repertory and Synthesis. Foreword J. E. Spingarn. New York: Sturgis and Walton, 1910.

Knights, L. C. Drama and Society in the Age of Jonson. London: Chatto & Windus, 1937.

_____. Drama and Society in the Age of Jonson. London: Methuen, 1977.

Leech, C. and T. W. Craik, gen. eds. The Revels History of Drama in English. Vol. 3, 1576-1613. London: Methuen, 1975.*

Leggatt, Alexander. English Drama: Shakespeare to the Restoration, 1590-1660. (Longman Literature in English Series). London: Longman, 1988.

Legouis, Émile. "English Theatre 1520-1578." From Legouis and Cazamian's History of English Literature. In García Landa, Vanity Fea 10 Oct. 2012.*

         http://vanityfea.blogspot.com.es/2012/10/english-theatre-1520-1578.html

         2012

_____. "The Drama until Shakespeare." From Legouis and Cazamian's A History of English Literature. Online at Vanity Fea 15 Oct. 2019.* (Lyly, Peele, Kyd, Marlowe, Greene).

         https://vanityfea.blogspot.com/2019/10/the-drama-until-shakespeare-1580-92.html

         2019

Levin, Richard. New Readings vs. Old Plays: Recent Trends in the Interpretation of English Renaissance Drama. Chicago: U of Chicago P, 1979.

Long, William B. "'Precious Few': English Manuscript Playbooks." In A Companion to Shakespeare. Ed. David Scott Kastan. Oxford: Blackwell, 1999. 414-33.*

Loomba, Ania. Gender, Race, Renaissance Drama. Manchester: Manchester UP, 1989.

_____. Gender, Race, Renaissance Drama. (Oxford India Paperbacks). New Delhi: Oxford UP, 1992.

López-Peláez Casellas, Jesús. "Some Notes on the Construction of the Other in XVIIth Century English Drama." In First International Conference on English Studies: Past, Present and Future: Costa de Almería, 19-25 de Octubre, 1997. Ed. Annette Gomis et al. CD-ROM. Almería: U de Almería, n.d. [2001]*

Mann, David. The Elizabethan Player: Contemporary Stage Representation. London: Routledge, 1991.

Martínez-García, Laura, and Raquel Serrano García, eds. (Re)defining Gender In Early Modern English Drama: Power, Sexualities And Ideologies In Text And Performance. De Gruyter-MIP, 2020.

McAlindon, Tom. English Renaissance Tragedy. London: Macmillan, 1986. Rpt. 1988.*

McLuskie, Kathleen E. Renaissance Dramatists. Hemel Hempstead: Harvester Wheatsheaf, 1989.

McRae, Andrew. Renaissance Drama. (Contexts series). London: Arnold, 2003.

Mousley, Andrew. Renaissance Drama and Contemporary Literary Theory. Houndmills: Macmillan, 2000.*

Mroczkowska-Brand, Katarzyn. Overt Theatricality and the "Theatrum mundi" Metaphor in Spanish and English drama, 1570-1640. Ann Arbor: University Microfilms International, cop. 1985, print 1989.

Mullaney, Steven. The Place of the Stage: License, Play, and Power in Renaissance England. Chicago: U of Chicago P, 1988.

Parrott, Thomas M., and Robert H. Ball. A Short View of Elizabethan Drama. New York, 1943.

Pavel, Thomas G. The Poetics of Plot: The Case of English Renaissance Drama. Minneapolis: U of Minnesota P, 1985.*

Rabkin, Norman. Drama of the English Renaissance: Volume 1: The Tudor Period. Prentice-Hall, 1976.

Rabkin, N., and R. Fraser, eds. Drama of the English Renaissance. 2 vols. New York: Macmillan, 1976.

Ricks, Christopher, ed. English Drama to 1710. London: Sphere, 1971.*

Schwanecke, Christine. "4. Stories in Conflict and Competition: Alternative Histories, Complementary Tales, and Lies in Early Modern Drama." In Schwanecke, A Narratology of Drama. Berlin and Boston: de Gruyter, 2022.  97-147. (Henry IV, Webster's The White Devil, Pericles; dissimulation)      

         https://doi.org/10.1515/9783110724110

         https://www.degruyter.com/document/doi/10.1515/9783110724110/html

         2022

Styan, J. L. "The Tudor Interlude." In Styan, The English Stage. Cambridge: Cambridge UP, 1996. 60-87.*

_____. "The Elizabethan Theatre." In Styan, The English Stage. Cambridge: Cambridge UP, 1996. 8-117.*

_____. "Jacobean Experiment: Exploding the Form." In Styan, The English Stage. Cambridge: Cambridge UP, 1996. 199-236.*

Sullivan, Garrett A., Jr., Patrick Cheney and Andrew Hadfield, eds. Early Modern English Drama: A Critical Companion. New York: Oxford UP, 2005.

Ward, A. W., and A. R. Waller, eds. The Drama to 1642, Part One.Vol. 5 (English) of The Cambridge History of English and American Literature: An Encyclopedia in Eighteen Volumes. Online at Bartleby.com

         http://www.bartleby.com/215/index.html

         2012-07-26

_____, eds. The Drama to 1642: Part Two. Vol. 6 (English) of The Cambridge History of English and American Literature. Online at Bartleby.com

         http://www.bartleby.com/216/index.html

         2012

Wells, Stanley. Shakespeare and Co.: Christopher Marlowe, Thomas Dekker, Ben Jonson, Thomas Middleton, John Fletcher and the Other Players in His Story. London: Penguin, 2007.

Wickham, Glynne. "1. Stage and Drama till 1660." In English Drama to 1710. Ed. Christopher Ricks. (Sphere History of Literature in the English Language, 3). London: Sphere Books, 1971. 19-64.*

Wilson, F. P. English Drama 1485-1585. Ed. with a bibliography by G. K. Hunter. Vol. V of The Oxford History of English Literature. (orig. vol. IV part 1). Oxford: Oxford UP.

Wilson, Richard, and Richard Dutton, eds. New Historicism and Renaissance Drama. (Longman Critical Readers). London: Longman, 1994.

Wyatt, A. J. "The English Drama." (Elizabethan). In Wyatt, The Tutorial History of English Literature. 2nd ed. London: Clive, 1901. 38-71.

 

 

Early works

 

The Actors' Remonstrance. Pamphlet. London, 1643.

Addison, Joseph. "English Tragedy." In Addison, Critical Essays from the Spectator: With Four Essays by Richard Steele. Ed. Donald F. Bond. Oxford: Oxford UP, 1970. 210-20.*

Dibdin. History of the Stage. 19th cent.

Dryden, John. Of Dramatic Poesy: An Essay. 1668.

_____. An Essay of Dramatic Poesy. Rev. ed. 1684.

_____. An Essay on Dramatic Poesy. Ed. Thomas Arnold. Oxford: Oxford UP, 1889.

_____. Essay of Dramatic Poesy. Ed. Thomas Arnold, rev. W. T. Arnold. Oxford, 1903.*

_____. "An Essay of Dramatic Poesy." In Essays of John Dryden. Ed. W. P. Ker. Oxford: Clarendon Press, 1926.

_____. An Essay of Dramatic Poesy. In The Great Critics. Ed. J. H. Smith and E. W. Parks. New York: Norton, 1932. 255-310.*

_____. An Essay of Dramatic Poesy. In Literary Criticism: From Plato to Dryden. Ed. Gilbert. 601-58.*

_____. Of Dramatic Poesie. In Of Dramatic Poesie and Other Critical Essays. Ed. George Watson. 2 vols. London: Dent, 1962.*

_____. Of Dramatic Poesie. Ed. James T. Boulton. Oxford, 1964.

_____. Of Dramatic Poesy: An Essay. In Dryden, Selected Criticism. Ed. James Kinsley and George Parfitt. Oxford: Oxford UP, 1970. 17-76.*

_____ An Essay of Dramatic Poesy. In Literary Criticism and Theory. Ed. R. C. Davis and L. Finke. London: Longman, 1989. 249-89.*

_____. An Essay of Dramatic Poesy. In The Norton Anthology of Theory and Criticism. Ed. Vincent B. Leitch et al. New York: Norton, 2001.*

_____. "An Essay of Dramatic Poesy." Online at Poetry Foundation.*

         http://www.poetryfoundation.org/learning/essay/237822

         2015

         https://www.poetryfoundation.org/articles/69377/an-essay-of-dramatic-poesy

         2019

Flecknoe, Richard. "A Short Discourse of the English Stage." Preface to Love's Kingdom, a Pastoral Tragi-Comedy. 1664.

Genest, John. Some Account of the English Stage. 10 vols.  Bath, 1832.

Gosson, Stephen. The School of Abuse, Conteining a Pleasaunt Invective Against Poets, Pipers, Plaiers, Iesters and Such Like Catepillers of the Commonwelth. 1579.

_____. The School of Abuse. Shakespeare Society, 1841.

_____. Schoole of Abuse. Ed. Edward Arber. (English Reprints). London: Arber, 1868. ( Incl also Short Apology).

_____. The School of Abuse. Norwood (NJ): Walter J. Johnson, 1973.

_____. The Ephemerides of Phialo ... and a short Apologie of the Schoole of Abuse. 1579. In Chambers, The Elizabethan Stage. Oxford, 1923. Vol. 4.

_____. Playes Confuted in Five Actions. London, 1581-2.

_____. Playes Confuted in Five Actions. Ed. Arthur Freeman. New York: Garland, 1972.

_____. From Playes Confuted in five Actions. 1582. In The Elizabethan Stage, by E. K. Chambers. Oxford: Clarendon, 1923. 3.213-19.

Hazlitt, William. Lectures on the Dramatic Literature of the Age of Elizabeth. 1820.

Hazlitt, William Carew, ed. The English Drama and Stage under the Tudor and Stuart Princes, 1543-1664. 1869. Rpt. New York, 1964.

Heywood, Thomas.  An Apology for Actors.  London: Cartwright, 1612. 

_____. An Apology for Actors. London: Shakespeare Society, 1841.

_____. An Apology for Actors. Select. in Literary Criticism from Plato to Dryden Literary Criticism: Plato to Dryden. Detroit: Wayne State UP, 1962.553-64. 

_____. An Apology for Actors. In The English Stage: Attack and Defense 1577-1730. New York and London, 1973.

Lamb, Charles. "Elizabethan Drama." In Lamb's Criticism. Cambridge: Cambridge UP, 1923. 15-33.*

Langbaine, Gerard. An Account of the English Dramatick Poets. Oxford, 1691.

_____. Lives and Characters of the English Dramatick Poets. Rev. ed. of Account of the English Dramatick Poets . Ed. Gildon. 1699.

_____. The Lives and Characters of English Dramatik Poets. New York: AMS Press, 1976.

Prynne, William. Histrio-Mastix, the Players Scourge, etc. 1633. Rpt. in The English Stage: Attack and Defense 1577-1740. Ed. Arthur Freeman. New York: Garland, 1974.

Rainoldes, John. Overthrow of Stage Plays. 1593. 1599. 1629.

Scott, Walter. Lives of Eminent Novelists and Dramatists. London: Frederick Warne, 1887.

Ward, Adolphus W. A History of English Dramatic Literature to the Death of Queen Anne. 3 vols. 1899.

 

See also Attacks on drama.

 

 

Miscellaneous

 

Agnew, Jean-Christophe. Worlds Apart: The Market and the Theater in Anglo-American Thought, 1550-1750. Cambridge: Cambridge UP, 1986.

Akrigg, G. P. V. Jacobean Pageant or The Court of King James I. 1962.

Altman, Joel. The Tudor Play of Mind: Rhetorical Inquiry and the Development of Elizabethan Drama. Berkeley: U of California P, 1978.

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Astington, John H. "Playhouses, Players, and Playgoers in Shakespeare's Time." In The Cambridge Companion to Shakespeare. Ed. Margreta De Grazia and Stanley Wells. Cambridge: Cambridge UP, 2001. 99-114.*

Axton, Marie. The Queen's Two Bodies: Drama and the Elizabethan Succession. London, 1977.

Baker, George P. "6. The Plays of the University Wits." In The Drama to 1642, Part One. Ed. A. W. Ward and A. R. Waller. Vol. 5 (English) of The Cambridge History of English and American Literature: An Encyclopedia in Eighteen Volumes. Online at Bartleby.com (Lyly, Peele, Greene, Lodge, Nashe).

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Baker, Howard. Induction to Tragedy: An Study in Development of Form in Gorboduc, The Spanish Tragedy and Titus Andronicus. Baton Rouge: Louisiana State UP, 1939.

Barber, C. L. Creating Elizabethan Tragedy: The Theater of Marlowe and Kyd. Chicago: U of Chicago P, 1988.

Barton, Anne. "The London Scene: City and Court." In The Cambridge Companion to Shakespeare. Ed. Margreta De Grazia and Stanley Wells. Cambridge: Cambridge UP, 2001. 115-28.*

_____. Ben Jonson, Dramatist. Cambridge: Cambridge UP, 1984.

Bawcutt, N. W. The Control and Censorship of Caroline Drama: The Records of Sir Henry Herbert, Master of the Revels, 1623-73. Oxford: Clarendon Press, 1996.

Bayne, Ronald, M. A. "12. Lesser Elizabethan Dramatists." In The Drama to 1642, Part One. Ed. A. W. Ward and A. R. Waller. Vol. 5 (English) of The Cambridge History of English and American Literature: An Encyclopedia in Eighteen Volumes. Online at Bartleby.com (Munday, Chettle, Haughton, Porter, Hatwhaye, Robert Wilson, Wentworth Smith, Drayton, John Day, Samuel Rowley, Fulke Greville).

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Belsey, Catherine. The Subject of Tragedy: Identity and Difference in Renaissance Drama. London and New York: Methuen, 1985.

Bevington, David, and Peter Holbrook, eds. The Politics of the Stuart Court Masque. 1998.

Bentley, Gerald Eades. The Profession of Dramatist in Shakespeare's Time 1490-1642. Princeton: Princeton UP, 1971.

_____. The Profession of Player in Shakespeare's Time 1590-1642. Princeton: Princeton UP, 1984.

_____. The Jacobean and Caroline Stage. Oxford, 1941-1968.

_____, ed. The Seventeenth-Century Stage. Chicago, 1968.

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_____. Tudor Drama and Politics: A Critical Approach to Topical Meaning. Cambridge (MA): Harvard UP, 1968.

Bliss, Lee. "Pastiche, Burlesque, Tragicomedy." In The Cambridge Companion to English Renaissance Drama. Cambridge: Cambridge UP, 1990. 237-61.

_____. "7. Pastiche, Burlesque, Tragicomedy." In The Cambridge Companion to English Renaissance Drama. Ed. A. R. Braunmuller and Michael Hattaway. 2nd ed. Cambridge: Cambridge UP, 2003. 228-53.*

Boas, F. S. "5. Early English Comedy." In The Drama to 1642, Part One. Ed. A. W. Ward and A. R. Waller. Vol. 5 (English) of The Cambridge History of English and American Literature: An Encyclopedia in Eighteen Volumes. Online at Bartleby.com (John Heywood, Nicholas Udall, Textor, Edwards, Whetstone).

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_____. University Drama in the Tudor Age.

Boehrer, Bruce. Shakespeare among the Animals: Nature and Society in the Drama of Early Modern England. Basingstoke: Palgrave Macmillan, 2002.

Brooke, Nicholas. Horrid Laughter in Jacobean Tragedy. London: Open Books, 1979.

Bowers, Fredson T. Elizabethan Revenge Tragedy, 1587-1642. Princeton (NJ): Princeton UP, 1940.

_____. Elizabethan Revenge Tragedy 1587-1642. Gloucester (MA): Peter Smith, 1959.

_____. On Editing Shakespeare and the Elizabethan Dramatists. 1955.

Bradbrook, Muriel C. Elizabethan Stage Conventions. Cambridge: Cambridge UP, 1933.

_____. Themes and Conventions of Elizabethan Tragedy. Cambridge: Cambridge UP, 1935.

_____. Themes and Conventions of Elizabethan Tragedy. 2nd ed. Cambridge: Cambridge UP, 1980.

Bradley, David. From Text to Performance in the Elizabethan Theatre: Preparing the Play for the Stage. Cambridge: Cambridge UP, 1992.

Braunmuller, A. R. "2. The Arts of the Dramatist." In The Cambridge Companion to English Renaissance Drama. Ed. A. R. Braunmuller and Michael Hattaway. 2nd ed. Cambridge: Cambridge UP, 2003. 53-92.*

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Breight, Curtis. Surveillance, Militarism and Drama in the Elizabethan Era. Basingstoke: Macmillan, 1996.

Bruster, Douglas. "Horns of Plenty: Drama and the Market in the Age of Shakespeare." Diss. Harvard U, 1990.

_____. Drama and the Market in the Age of Shakespeare. (Cambridge Studies in Renaissance Literature and Culture 1). Cambridge: Cambridge UP, 1992.

Bulman, James. "10. Caroline Drama." In The Cambridge Companion to English Renaissance Drama. Ed. A. R. Braunmuller and Michael Hattaway. 2nd ed. Cambridge: Cambridge UP, 2003.*

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Bushnell, R. W. Tragedies of Tyrants: Political Thought and Theater in the English Renaissance. Ithaca: Cornell UP, 1990.

Butler, Martin. "4. Private and Occasional Drama." In The Cambridge Companion to English Renaissance Drama. Ed. A. R. Braunmuller and Michael Hattaway. 2nd ed. Cambridge: Cambridge UP, 2003.*

Cerasano, S. P., and Marion Wynne-Davies, eds. Readings in Renaissance Women's Drama: Criticism, History, and Performance, 1594-1998. London: Routledge, 1998. (Book /eBook)

Cerezo Moreno, Marta. "The Dissected Body: Fascination and Horror on the Elizabethan Stage." In Fifty Years of English Studies in Spain […] Actas del XXVI Congreso de AEDEAN, ed. Ignacio Palacios et al. Santiago de Compostela: U de Santiago de Compostela, 2003. 483-89.*

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Clark, Robert. "The New Globe Rises." European English Messenger 4.1 (Spring 1995): 12-13.*

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_____. The Privileged Players of Shakespeare's London, 1576-1642. Princeton: Princeton UP, 1981.

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Coyle, Martin. "The Tragedies of Shakespeare's Contemporaries." In A Companion to Shakespeare's Works: Volume 1: The Tragedies. Ed. Richard Dutton and Jean E. Howard. Malden: Blackwell, 2003. 2006. 23-46.*

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_____. "4. Early English Tragedy." In The Drama to 1642, Part One. Ed. A. W. Ward and A. R. Waller. Vol. 5 (English) of The Cambridge History of English and American Literature: An Encyclopedia in Eighteen Volumes. Online at Bartleby.com (Cinthio, Sackville and Norton, Seneca,  Famous Victories of Henry the fifth, Troublesome Raigne of King John, True Chronicle History of King Leir).

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D'Amico, Jack. The Moor in English Renaissance Drama. Tampa: UP of Florida, 1991.

Dean, P. "Forms of Time: Some Elizabethan Two-Part History Plays." Renaissance Studies 4 (1990): 410-30.

Dent, R. W. Proverbial Language in English Drama, Exclusive of Shakespeare, 1495-1616. 1984.

Diehl, H. "Inversion, Parody and Irony: The Visual Rhetoric of Renaissance English Tragedy." Studies in English Literature 22 (1982): 197-209.

Dillon, Janette. Theatre, Court and City, 1595-1610: Drama and Social Space in London. c. 2000.

Dollimore, Jonathan. Radical Tragedy: Religion, Ideology and Power in the Drama of Shakespeare and His Contemporaries. Brighton: Harvester, 1984. (Part I: Radical Drama: Its Contexts and Emergence; Part II: Structure, Mimesis, Providence; Part III: Man Decentred).

_____. Radical Tragedy: Religion, Ideology and Power in the Drama of Shakespeare and His Contemporaries. Chicago: U of Chicago P, 1984.

_____. Radical Tragedy: Religion, Ideology and Power in the Drama of Shakespeare and His Contemporaries. 2nd ed. Hemel Hempstead: Harvester Wheatsheaf, 1989. (New introd.).

_____. Radical Tragedy: Religion, Ideology and Power in the Drama of Shakespeare and His Contemporaries. 3rd ed. Houndmills: Palgrave, 2004.* (Foreword by Terry Eagleton. x-xiii. New introd by the author, xiv-xl. Introd. to the 2nd ed., xli-xcix).

Donaldson, Ian. "5. Ben Jonson." In English Drama to 1710. Ed. Christopher Ricks. (Sphere History of Literature in the English Language, 3). London: Sphere Books, 1971. 278-305.*

Dunworth, Felicity. "A 'Bosom Burnt with Desires': The Alluring Maternal Body on the Elizabethan Stage." Paragraph 21.3 (1998):330-353.

Dutton, Richard. Mastering the Revels: The Regulation and Censorship of English Renaissance Drama. 1991.

Edwards, Philip. Thomas Kyd and Early Elizabethan Tragedy. (Writers and Their Work). London: Longmans, 1966.

Eliot, T. S. "Seneca in Elizabethan Translation." 1927. In Eliot, Selected Essays 65-107.

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Empson, William. Essays on Renaissance Literature. Vol. 2. The Drama. Cambridge: Cambridge UP, 1994.

Enright, D. J. "Elizabethan and Jacobean Comedy." In The Age of Shakespeare. Ed. Boris Ford. Vol. 2 of The Pelican Guide to English Literature. Harmondsworth: Penguin-Pelican, 1955. 1971. 416-28.*

_____. "Elizabethan and Jacobean Comedy." In The Age of Shakespeare. Vol. 2 of The New Pelican Guide to English Literature. Ed. Boris Ford. Harmondsworth: Penguin, 1982. Rev. 1993. 471-83.*

Farnham, Willard. The Medieval Heritage of Elizabethan Tragedy. Berkeley : U of California P, 1936.

_____. "The Tragic Qualm." From The Medieval Heritage of Elizabethan Tragedy. In Shakespeare: The Tragedies. Ed. Alfred Harbage. Englewood Cliffs (NJ): Prentice-Hall, 1964.

Foakes, R. A. "1. Playhouses and Players." In The Cambridge Companion to English Renaissance Drama. Ed. A. R. Braunmuller and Michael Hattaway. 2nd ed. Cambridge: Cambridge UP, 2003. 1-52.*

Forse, J. H. "Why Boys for (wo)Men's Roles? Or Pardon the Delay, 'the Queen was Shaving'." Selected Papers from the West Virginia Shakespeare and Renaissance Association 15 (1993): 6-27.

Fortunati, Vita. "The 'Female' Page: Transvestism and 'Ambiguity' in Elizabethan Theatre Roles." SEDERI II. Ed. S. G. Fernández Corugedo. Oviedo: Servicio de Publicaciones de la Universidad de Oviedo, 1992. 95-111.

García Martínez, Isabel. "Influencias mutuas entre el teatro inglés y el francés de los siglos XVII y XVIII." Stvdia Patriciae Shaw oblata. Vol. 1. Oviedo: Servicio de Publicaciones de la Universidad de Oviedo, 1991. 243-54.*

Gardner, Helen. "Milton's Satan and the Theme of Damnation in Elizabethan Tragedy." Essays and Studies ns 1 (1948). Rpt. in Elizabethan Drama: Modern Essays in Criticism. Ed. R. J. Kaufman. New York: Oxford UP, 1961.

Gibbons, Brian. "Romance and Heroic Play." In The Cambridge Companion to English Renaissance Drama. Ed. A. R. Braunmuller and Michael Hattaway. Cambridge: Cambridge UP, 1990. 207-36.

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Harris, Anthony. Night's Black Agents: Witchcraft and Magic in Seventeenth-Century English Drama. Manchester: Manchester UP, 1980.

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_____. "Scripts and/versus Playhouses: Ideological Production and the Renaissance Public Stage." In The Matter of Difference: Materialist Feminist Criticism of Shakespeare. Ed. Valerie Wayne. Ithaca: Cornell UP, 1991. 221-36.*

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_____. "Seneca and the Elizabethans: A Case Study in 'Influence'." In Shakespeare and the Literary Tradition. Ed. Stephen Orgel and Sean Keilen. New York and London: Garland, 1999. 89-100.*

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_____. "6. Later History Plays." In English Drama 1586-1642: The Age of Shakespeare. Vol. VI of The Oxford History of English Literature. Oxford: Clarendon Press, 1997. 2008. 229-78.*

_____. "7. The Boy Actors and the New Dramaturgy." In English Drama 1586-1642: The Age of Shakespeare. Vol. VI of The Oxford History of English Literature. Oxford: Clarendon Press, 1997. 2008. 279-358.*

_____. "8. Later Comedy." In English Drama 1586-1642: The Age of Shakespeare. Vol. VI of The Oxford History of English Literature. Oxford: Clarendon Press, 1997. 2008. 359-418.*

_____. "9. Later Tragedy." In English Drama 1586-1642: The Age of Shakespeare. Vol. VI of The Oxford History of English Literature. Oxford: Clarendon Press, 1997. 2008. 418-96.*

_____. "20. Tragicomedy."  In English Drama 1586-1642: The Age of Shakespeare. Vol. VI of The Oxford History of English Literature. Oxford: Clarendon Press, 1997. 2008.*

_____. "Appendix: Entries, Masques, Jigs." In English Drama 1586-1642: The Age of Shakespeare. Vol. VI of The Oxford History of English Literature. Oxford: Clarendon Press, 1997. 2008. 525-33.*

_____, ed. Dramatic Identities and Cultural Tradition Studies in Shakespeare and His Contemporaries. New York: Barnes; Liverpool: Liverpool UP, 1978.

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Ingram, Angela J. C. In the Posture of the Whore: Changing Attitudes to 'Bad' Women in Elizabethan and Jacobean Drama. Salzburg: Institut für Anglistik und Amerikanistik Universität Salzburg, 1984.

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_____. The Elizabethan Image of Africa. Charlottesville: UP of Virginia, 1971.

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Rabkin, Norman, ed. Reinterpretations of Elizabethan Drama. Ed. Norman Rabkin. New York: Columbia UP, 1969.

Rackin, Phyllis. "Androgyny, Mimesis, and the Marriage of the Boy Heroine on the English Renaissance Stage." PMLA 102 (1987): 29-41.*

Ribner, Irving. Jacobean Tragedy, the Quest for Moral Order. 1962. Rpt. London: Methuen, 1979.

Rollins, Hyder E. "A Contribution to the History of English Commonwealth Drama." Studies in Philology 18 (1921): 267-333.

Rosenberg, M. "Elizabethan Actors: Men or Marionettes?" PMLA 69 (1964): 915-27.

Rosenfeld, Sybil. Foreign Theatrical Companies in Great Britain in the 17th and 18th Century. Theatre Research, 1955.

Rosenthal, Laura J. Playwrights and Plagiarists in Early Modern England: Gender, Authorship, Literary Property. Ithaca: Cornell UP, 1996.

Rubik, Margarete. Early Women Dramatists 1550-1800: An Alternative Tradition. (English Dramatists). Houndmills: Macmillan, 1998.

Rush, Christopher. "An Apology for Actors." From Will. In García Landa, Vanity Fea 3 Nov. 2013.*

         http://vanityfea.blogspot.com.es/2013/11/an-apology-for-actors.html

         2013

Rymer, Thomas.The Tragedies of the Last Age Consider'd and Examin'd by the Practice of the Ancients and by the Common Sense of All Ages, in a Letter to Fleetwood Shepheard, Esq. 1678.

_____. A Short View of Tragedy; its Original, Excellency, and Corruption. With Some Reflections on Shakespear, and other Practitioners for the Stage. 1692 (dated 1693). London: Routledge, 1994.

Sáez González, Rosa. "Tragic Heroes: Avengers or Victims." In SEDERI VI. Ed. Ana María Manzanas Calvo. N.p.: SEDERI, 1996. 153-61.*

Salingar, L. G. "The Decline of Tragedy." In The Age of Shakespeare. Ed. Boris Ford. Vol. 2 of The Pelican Guide to English Literature. Harmondsworth: Penguin-Pelican, 1955. 1971. 429-40.*

_____. "The Decline of Tragedy." In The Age of Shakespeare. Vol. 2 of The New Pelican Guide to English Literature. Ed. Boris Ford. Harmondsworth: Penguin, 1982. Rev. 1993. 484-98.*

_____. "Jacobean Playwrights and 'Judicious' Spectators." Proceedings of the British Academy 75 (1989).

Schoenbaum, Samuel. Internal Evidence and Elizabethan Dramatic Authorship: An Essay in Literary History and Method. London: Edward Arnold, 1966

Shapiro, James. Rival Playwrights.

Shepherd, Simon. Amazons and Warrior Women: Varieties of Feminism in Seventeenth-Century Drama. Brighton and New York: Harvester, 1981.

Shiina, Michi. "How Playwrights Construct their Dramatic World: A Corpus-Based Study of Vocatives in Early Modern English Comedies." In The Writer's Craft, the Culture's Technology. Ed. Carmen Rosa Caldas-Coulthard and Michael Toolan. (PALA Papers, 1). Amsterdam and New York: Rodopi, 2005.

Simpson, Percy. Studies in Elizabethan Drama.

Sisson, C. J. Lost Plays of Shakespeare's Age. 1936.

Smith, David L., Richard Strier and David Bevington. The Theatrical City: Culture, Theatre, and Politics in London, 1576-1649. Cambridge: Cambridge UP, 1995.

Spencer, Theodore. Death and Elizabethan Tragedy. Cambridge (MA): Harvard UP, 1936.

_____. "The Elizabethan Malcontent." In Joseph Quincy Dams Memorial Studies. Ed. J. G. McManaway, J. G. Dawson, and E. E. Willoughby. Washington (DC). Folger Liberary, 1948.

Stilling, Roger. Love and Death in Renaissance Tragedy. Baton Rouge: Louisiana State UP, 1976.

Sutherland, Sarah P. Masques in Jacobean Tragedy. AMS Press, 1983.

Thaler, Alwin. Shakspere to Sheridan. Cambridge (MA), 1922.

Thompson, Ann. "Women/'Women' and the Stage." In Women and Literature in Britain, 1500-1700. Ed. Helen Wilcox. Cambridge: Cambridge UP, 1996. 100-16.

Tillotson, Geoffrey. "Two Productions of Elizabethan Plays." In Tillotson, Essays in Criticism and Research. Cambridge: Cambridge UP, 1942. 49-52.*

Tokson, Elliot H. The Popular Image of the Black Man in English Drama, 1550-1688. Boston: G. K. Hall, 1982.

Tomlison, Sophie. "She That Plays the King: Henrietta Maria and the Threat of the Actress in Caroline Culture." In The Politics of Tragicomedy. Ed. Gordon McMullan and Jonathan Hope. London and New York, 1992. 189-207.

Tomlison, T. B. A Study of Elizabethan and Jacobean Tragedy. Cambridge: Cambridge UP, 1964.

Traister, Barbara Howard. Heavenly Necromancers: The Magician in English Renaissance Drama. Columbia (MO): Missouri UP, 1984.

_____. From Heavenly Necromancers. In El teatro de Christopher Marlowe. Ed. J. M. González Fernández de Sevilla. Zaragoza: Sederi, 1998.

Trussler, Simon. "4. The Shaping of a Professional Theatre 1485-1572." In Trussler, The Cambridge Illustrated History of British Theatre. Cambridge: Cambridge UP, 1994. pbk 2000. 50-69.* (Theatricality and the Tudor myth. Reformation, and 'mysteries' end'. Educational and academic drama. From royal servants to professionals: fools, boy choristers, adult players. Interludes: moral, political, and farcical. Romance, balladry, and the popular audience. Playing places. Evidence and its interpretation. Instruments of control: the licensing of plays, the patronage of players).

_____. "5. The Era of the Outdoor Playhouses 1572-1603." In Trussler, The Cambridge Illustrated History of British Theatre. Cambridge: Cambridge UP, 1994. pbk 2000. 70-89.* (The decline of provincial playing. London's 'theatre districts'. The first prominent playhouses. Techniques of staging. Organization and development of the major companies. Actors, repertoires, 'parts' and 'lines'. The university wits, and the triumph of blank verse. Comedies, histories, tragedies—and jigs. Playwriting as a profession: Shakespeare, Heywood, Jonson. Return of the children, and the 'war of the theatres'. Theatre at court. Death of a consummate actress. Reconstructing the theatres).

_____. "6. The Jacobean Theatre 1603-1625." In Trussler, The Cambridge Illustrated History of British Theatre. Cambridge: Cambridge UP, 1994. pbk 2000. 90-105.* (From Elizabethan to Jacobean. New patrons, and the 'move indoors'. Changing audiences and changing tastes. Acts and scenes. The nature of 'character': the malcontent and the revenger. Conventions, cross-dressing, and clowning. Tragedy, tragi-comeedy, and the 'triumvirate of wit'. Masques, and other entertainments. 'City Comedy', the puritans, and the politics of theatre).

_____. "7. The Caroline and Commonwealth Theatre 1625-1660." In Trussler, The Cambridge Illustrated History of British Theatre. Cambridge: Cambridge UP, 1994. pbk 2000. 106-17.* (Plague, patronage, and the players. The matter of audiences. The Queen, the court, and the triumph of spectacle in the masque. Playwrights, cavalier and professional. Political plays—and the play of politics. The closure of 1642, and the plight of the actors. The residual theatre of the interregnum: closet plays, drolls—and opera by default. Theories of a reformed stage).

_____. "The Caroline and Commonwealth Theatre." From The Cambridge Illustrated History of British Theatre. In García Landa, Vanity Fea 4 Dec. 2013.*

         http://vanityfea.blogspot.com.es/2013/12/the-caroline-and-commonwealth-theatre.html

         2013

Vélez Núñez, Rafael. "Gendering Stages  in English Pre-Restoration Theatrical Productions." In Literature, Gender, Space. Ed. Sonia Villegas-López and Beatriz  Domínguez-García Huelva: Servicio de Publicaciones de la  Universidad de Huelva, 2004.

Venet, Gisèle. Temps et vision tragique: Shakespeare et ses contemporains. 1985. Paris: Presses de la Sorbonne Nouvelle, 2002.

Vitkus, Daniel. Turning Turk: English Theatre and the Multicultural Mediterranean. Basingstoke: Palgrave Macmillan, 2003.

Walls, Peter. Music in the English Courtly Masque, 1604-1640. (Oxford Monographs on Music). Oxford: Clarendon Press, 1996.

Watson, Robert N. "9. Tragedy." In The Cambridge Companion to English Renaissance Drama. Ed. A. R. Braunmuller and Michael Hattaway. 2nd ed. Cambridge: Cambridge UP, 2003. 292-343.*

Wells, R. H. Elizabethan Mythologies: Studies in Poetry, Drama, and Music. Cambridge: Cambridge UP, 1994.

West, William N. "How to Talk the Talk, or, The Work of Cant on the Jacobean Stage." English Literary Renaissance (forthcoming 2002)

White, Martin. Renaissance Drama in Action. London: Routledge, 1998. (Book/eBook).

White, Paul Whitfield. Theatre and Reformation: Protestantism, Patronage, and Playgoing in Tudor England. Cambridge: Cambridge UP, 1993.

Wickham, Glynne. Early English Stages 1300-1660. New York, 1959-1981.

Wiggins, Martin. The Assassin in English Renaissance Drama. Oxford: Oxford UP, 1991.

Whigham, Frank. "Reading Social Conflict in the Alimentary Tract: More on the Body in Renaissance Drama." English Literary History 55 (1988): 333-50.

_____. Seizures of the Will in Early Modern English Drama. (Cambridge Studies in Renaissance Literature and Culture 11). Cambridge: Cambridge UP, 1996.

Womack, Peter. "Imagining Communities: Theaters and the English Nation in the Sixteenth Century." In Culture and History 1350-1600: Essays on English Communities, Identities and Writing. Ed. David Aers. Detroit, 1992. 91-146.

Woolf, Virginia. "Notes on an Elizabethan Play." In Woolf, The Common Reader. 1925. London: Hogarth, 1929. 72-83.*

Yachmin, Paul. Stage-Wrights: Shakespeare, Jonson, Middleton and the Making of Theatrical Value. (New Cultural Studies). U of Pennsylvania P, c. 1998.

Zimmermann, Susan. "Disruptive Desire: Artifice and Indeterminacy in Jacobean Comedy." In Erotic Politics: Desire on the Renaissance Stage. Ed. Susan Zimmermann. New York and London: Routledge, 1992.

_____, ed. Erotic Politics: Desire on the Renaissance Stage. New York and London: Routledge, 1992.

 

 

 

 

Anthologies

 

Adams, J. Q. Chief Pre-Shakespearean Dramas. London: Harrap, 1924.

Barker, Simon, and Hilary Hinds, eds. The Routledge Anthology of Renaissance Drama. London: Routledge, 2002. (Book/eBook)

         http://www.routledge.co.uk/textbooks/0415187346

Bell's British Theatre, Consisting of the Most Esteemed English Plays. 21 vols. 1776-81. 36 vols., 1791-1802.

Bevington, David, gen. ed. English Renaissance Drama: A Norton Anthology. With Lars Engle, Katharine Eisaman Maus and Eric Rasmussen (eds.). New York and London: Norton, 2002.*

Bullen, ed. Old English Plays. Vol. 3.

Cerasano, Susan P., and Marion Wynne-Davies, eds. Renaissance Drama by Women: Texts and Documents. London: Routledge, 1995. (Book/eBook)

Craik, T. W., ed. Minor Elizabethan Tragedies (Gorboduc, Cambises, The Spanish Tragedy, Arden of Feversham). London: Dent.

Evans, H. A., ed. English Masques. Blackie, 1935?

Dodsley, Robert, ed. A Select Collection of Old Plays. 12 vols. 1744.

_____, ed. A Select Collection of Old English Plays, originally published by Robert Dodsley. Rev. W. Carew Hazlitt. 15 vols. 1874-6.

Fraser, A., and N. Rabkin, eds. Drama of the English Renaissance. New York: Macmillan, 1986.

Gibson, Colin. Six Renaissance Tragedies (The Spanish Tragedy, Doctor Faustus, The Revenger's Tragedy, The Changeling, The Duchess of Malfi, 'Tis Pity She's a Whore). Houndmills: Macmillan, 1997.

Kinney, Arthur F., ed. Renaissance Drama: An Anthology of Plays and Enterntainments. (Blackwell Anthologies). Oxford: Blackwell, 1999.

Knowland, A. S., ed. Six Caroline Plays. London, 1962.

Lawrence, Robert G., ed. Jacobean and Caroline Comedies. London: Dent.

_____, ed. Jacobean and Caroline Tragedies. London: Dent.

Lindley, David, ed. Court Masques: Jacobean and Caroline Entertainments, 1605-1640. (Oxford Drama Library / World's Classics). Oxford: Clarendon Press, 1995.

Maus, Katharine Eisaman, ed. Four Revenge Tragedies of the English Renaissance. 1995.

McIlwraith, A. K., ed. Five Elizabethan Tragedies. (World's Classics, 452). London: Oxford UP, 1938. Rpt. 1945. 1950. 1952. 1957. 1959. 1961. 1963. 1966. 1969.* (Seneca, Thyestes, trans. Jasper Heywood; Norton and Sackville, Gorboduc; Kyd, The Spanish Tragedy; Anon., Arden of Feversham; Thomas Heywood, A Woman Killed with Kindness).

Rasmussen, Eric, coed. Norton Anthology of English Renaissance Drama.

Robertson, Jean, and D. J. Gordon, eds. Collections, 3. Oxford: Malone Society, 1954.

Shaughnessy, Robert, ed. Four Renaissance Comedies (George Peele, The Old Wives Tale, Ben Jonson, The Alchemist, Philip Massinger, A New Way to Pay Old Debts, Thomas Dekker, The Shoemaker's Holiday). Basingstoke: Palgrave Macmillan, 2003.

Spencer, T. B. J., and S. Wells, eds. A Book of Masques. (Jonson, Daniel, Campion, Beaumont, W. Browne, Davenant). Cambridge: Cambridge UP.

Thorndike, A. Introd. to Minor Elizabethan Drama. 2 vols. (Everyman's Library, 491-2). London: Dent; New York: Dutton. (Vol. 1, Tragedy: Norton and Sackville, Gorboduc; Kyd, Spanish Tragedy; Peele, David and Bethsabe; Arden of Feversham; Vol. 2, Comedy: Udall, Ralph Roister Doister; Lyly, Endimion; Peele, Old Wives' Tale; Greene, Friar Bacon and Friar Bungay; etc.).

Whitworth, C., ed. Three Sixteenth-Century Comedies. (The Old Wives' Tale, Gammer Gurton's Needle, Ralph Roister Doister). (New Mermaid Series). London: E. Benn.

 

 

 

Audio

 

 

Bragg, Melvyn, et al. "Elizabethan Revenge." Audio. BBC 4 (In Our Time) 18 June 2009.*

         http://www.bbc.co.uk/programmes/b00l16vp

         2016

 

 

 

 

Bibliographies

 

 

Baker, David E. The Companion to the Playhouse. 2 vols. 1764.

Baker, D. E., Isaac Reed, and Stephen Jones. Biographia Dramatica: or, a Companion to the Playhouse. 3 vols. 1812.

Corbin, Peter, and Douglas Sedge, eds. An Annotated Critical Bibliography of Jacobean and Caroline Comedy. Hemel Hempstead: Harvester Wheatsheaf, 1988.

García Landa, José Angel. "Renaissance English Drama." From A Bibliography of Literary Theory, Criticism and Philology. Online at Scribd (Taibur Rahaman) 3 Dec. 2014.*

         https://es.scribd.com/doc/249053691/3-Renaiss-english-drama

         2014

_____. "Bibliografía del teatro inglés del Renacimiento." In García Landa, Vanity Fea 4 Dec. 2014.*

         http://vanityfea.blogspot.com.es/2014/12/bibliografia-sobre-teatro-ingles-del.html

         2014

Wagonheim, Sylvia Stoler, ed. The Annals of English Drama 975-1700. London: Routledge, 1990.

 

 

 

 

 

Dictionaries

 

 

Nungezer, Edwin. A Dictionary of Actors and of Other Persons Associated with the Public Presentation of Plays in England Before 1642. New Haven: Yale UP, 1929.

 

 

 

 

 

Documents

 

 

Feuillerat, A. Documents Relating to the Office of the Revels in Time of Queen Elizabeth. Vol. 21 of Materialen zur Kunde des älteren Englischen Dramas. Gen. ed. W. Bang.

Foakes, R. A., and R. T. Rickert, eds. Henslowe's Diary. (Philip Henslowe). Cambridge: Cambridge UP, 1961.

Pollard, Tanya, ed. Shakespeare's Theater: A Sourcebook. Oxford: Blackwell, 2003.

Streitberger, W. R. Jacobean and Caroline Revels Accounts, 1603-1642. Oxford, 1986.

 

 

 

 

Internet resources

 

 

Before Shakespeare: The Beginnings of London Commercial Theatre 1565-1595.*

         https://beforeshakespeare.com/

         2020

 

"London Theatres." From Trussler's Cambridge Illustrated History of British Theatre.

         http://es.scribd.com/doc/111146660/London-Theatres

         2012

 

Staging the Henrician Court

         http://stagingthehenriciancourt.brookes.ac.uk/

         2012

 

 

Journals

 

 

Early Theatre: A Journal Associated with the Records of Early English Drama.

Ed. Helen Ostovich.

Department of English.

McMaster U, Hamilton,

Ontario L8S4L9,

Canada.

Vol. 2 (1999).

 

The Elizabethan Theatre 14 (1996).

 

Medieval and Renaissance Drama in England 5 (1991).

 

Renaissance Drama

Northwestern UP

Vol. 21 (1990)

 

 

 

 

Literature

 

 

Jonson, Ben. "Prologue to Every Man In His Humour." Bartleby.*

         https://www.bartleby.com/library/poem/2907.html

         2021

Marston, John. Histrio-Mastix. Or, THE PLAYER whipt. London: Printed [by George Eld] for Th. Thorp., 1610. Online facsimile at the Internet Archive.*

         https://archive.org/details/histriomastixorp00mars

         2021

 

 

 

 

 

 

Series

 

 

(English Dramatists). Houndmills: Macmillan, c. 1998.

 

(Globe Quartos). London: Hern, c. 1998.

 

(Malone Society Reprints). Oxford: Oxford UP, c. 1914.

 

(Regents Renaissance Drama Series). London: Arnold, c. 1968.

 

(The Revels Plays). London: Methuen, 1964.

 

 

 

 

 

Societies

 

Malone Society (Renaissance drama). Dr. Martin Wiggins. Shakespeare Institute. Church Street. Stratford-upon-Avon CV37 6HP.

 

 

See also Shakespeare, William; Marlowe, Christopher; Fletcher, John; Chapman, George; Jonson, Ben; Lyly, John; Beaumont, Francis; Middleton; Massinger; Dekker; Webster.