Introduces the conclusions of recent scholarship and research into theatrical conditions, conventions and concepts in the time of Shakespeare. The book begins with a discussion of the origins of early modern English drama and of the theatres that were built for it. Attitudes to theatre and to players, and what audiences expected of both, are explored in the contexts of the constraints of the acting space and the political culture. The book then looks at the structure and dynamics of the theatrical companies before concluding with a discussion of the genres of plays and the expectations of them that people (including writers) held. Appendices list brief details of the major dramatists of the time, and summarise the main historical and dramatic events.

Renaissance Drama provides a comprehensive and engaging new account of one of the richest periods of theatre history: the drama of early modern England produced for the professional theatre. It brings new insights to bear by exploring the plays in their relation to the culture and society of the period. Sandra Clark takes the reader through a compelling examination of how plays participate in and respond to changing anxieties, for instance about English nationhood, the monarchy, or the role of the family, sometimes raising difficult questions or offering challenges to accepted views. Unlike many books on Elizabethan drama, the book is organized so as to cover a wide range of plays, some familiar, many less so, by many playwrights, from Lyly in the 1580s to Shirley in the 1640s. Shakespeare is not foregrounded, but neither is he excluded; a chapter considers his dialogue with contemporaries and also the ways in which later playwrights wrote back to his work. Renaissance Drama will become standard reading for all students and scholars of English literature or the early modern period.

From before history was recorded to the present day, theatre has been a major artistic form around the world. From puppetry to mimes and street theatre, this complex art has utilized all other art forms such as dance, literature, music, painting, sculpture, and architecture. Every aspect of human activity and human culture can be, and has been, incorporated into the creation of theatre. In this Very Short Introduction Marvin Carlson takes us through Ancient Greece and Rome, to Medieval Japan and Europe, to America and beyond, and looks at how the various forms of theatre have been interpreted and enjoyed. Exploring the role that theatre artists play — from the actor and director to the designer and puppet-master, as well as the audience — this is an engaging exploration of what theatre has meant, and still means, to people of all ages at all times. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

The book considers the London theatrical culture which took shape in the 1570s and came to an end in 1642. Places emphasis on those plays that are readily available in modern editions and can sometimes to be seen in modern productions, including Shakespeare. Provides students with the historical, literary and theatrical contexts they need to make sense of Renaissance drama. Includes a series of short biographies of playwrights during this period. Features close analyses of more than 20 plays, each of which draws attention to what makes a particular play interesting and identifies relevant critical questions. Examines early modern drama in terms of its characteristic actions, such as cuckolding, flattering, swaggering, going mad, and rising from the dead.

This book explores the reasons for the lasting freshness and modernity of Shakespeare's plays, while revising the standard history of English medieval and Renaissance drama. Robert Knapp argues that changes in the authority of English monarchs, in the differentiation and integration of English society, in the realization of human figures on stage, and in the understanding of signs helped produce scripts that still compel us to the act of interpretation. Originally published in 1989. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

"Shakespeare is a towering presence in English and indeed global culture. Most readers in the English-speaking world, and many beyond, know his name and have at least a passing familiarity with his work. Yet considered alongside his contemporaries he was not an isolated phenomenon, but the product of a period of astonishing creative fertility. This was an age when new media - popular drama, and print - were seized upon avidly and inventively by a generation of exceptionally talented writers. In her sparkling new book, Helen Hackett explores the historical contexts of English Renaissance drama by situating it in the wider history of ideas. She traces the origins of Renaissance theatre in communal religious drama, civil pageantry and court entertainment and vividly describes the playing conditions of Elizabethan and Jacobean playhouses. Examining Shakespeare, Marlowe and Jonson in turn, the author assesses the distinctive contribution made by each playwright to the creation of English drama. She then turns to revenge tragedy, with its gothic poetry of sex and death; city comedy, domestic tragedy and tragicomedy; and gender and drama, with female roles played by boy actors."--Publisher's website.

Cover -- Half Title -- Title Page -- Copyright Page -- Dedication -- Contents -- List of Figures and Tables -- Preface -- Introduction: Shakespeare and the Population of London -- PART I: Authors/Playwrights, Readers and Playgoers: Their Mutual Interactions -- 1 The Formation of a Class of Readers -- 2 The Improvement of Literacy and its Reflection in Drama -- 3 The Rise of Drama and the Birth of a Class of Readers of Drama -- PART II: Playwrights, Playbook Readers and Printers/Publishers: Their Increasing Cooperation for the Unification of Forms of Dramatic Texts -- 4 Changes in Form of Dramatic Texts: A Standardisation -- PART III: Playbook Readers and their Responses to the Text -- 5 Readers of Drama-their Annotations (1): Play-Quartos of Chapman, Ford and Marston -- 6 Readers of Drama-their Annotations (2): Play-Quartos and the First Folio of Shakespeare -- Conclusion: The Zeal of Audiences and the Passion of Readers -- Appendixes -- 1. The Estimated Population of London: A Comparison between Yamada and Sutherland -- 2. The Distribution Ratio of Minors' Age-structure of the English Population in the Sixteenth and Seventeenth Centuries -- 3. Principles for Table 2.1 Concerning Plays which Contain Scenes of, or References to, Reading and/or Writing-a Memorandum -- 4. Shakespeare's Plays: Their Dates and Proposers of Dates, & c -- 5. Play-Quartos Published in the 1590s -- 6. A List of Play-Quartos Examined -- A List of Plays and Other Works Mentioned, with the Authors' Names -- Bibliography and Abbreviations -- Index

Renaissance Drama in Action is a fascinating exploration of Renaissance theatre practice and staging. Covering questions of contemporary playhouse design, verse and language, staging and rehearsal practices, and acting styles, Martin White relates the characteristics of Renaissance theatre to the issues involved in staging the plays today. This refreshingly accessible volume: * examines the history of the plays on the English stage from the seventeenth century to the present day * explores questions arising from reconstructions, with particular reference to the new Globe Theatre * includes interviews with, and draws on the work and experience of modern theatre practitioners including Harriet Walter, Matthew Warchus, Trevor Nunn, Stephen Jeffreys, Adrian Noble and Helen Mirren * includes discussions of familiar plays such as The Duchess of Malfi and 'Tis Pity She's A Whore, as well as many lesser known play-texts Renaissance Drama in Action offers undergraduates and A-level students an invaluable guide to the characteristics of Elizabethan and Jacobean drama, and its relationship to contemporary theatre and staging.

This is a reference text on Shakespeare's works, times, life, and afterlives. It offers stimulating and authoritative coverage of every aspect of Shakespeare and his writings, including their reinterpretation in the theatre, in criticism, and in film.