Marc Baer
- Published in print:
- 1992
- Published Online:
- October 2011
- ISBN:
- 9780198112501
- eISBN:
- 9780191670787
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198112501.003.0004
- Subject:
- Literature, Drama, 19th-century and Victorian Literature
This chapter discusses the establishment of a link between the riots and the London stage. It is revealed that this was not the first attack by a mob on a London theatre, and further investigations ...
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This chapter discusses the establishment of a link between the riots and the London stage. It is revealed that this was not the first attack by a mob on a London theatre, and further investigations on the connections with past disturbances and contemporary developments are made.Less
This chapter discusses the establishment of a link between the riots and the London stage. It is revealed that this was not the first attack by a mob on a London theatre, and further investigations on the connections with past disturbances and contemporary developments are made.
Nina Levine
- Published in print:
- 2016
- Published Online:
- May 2016
- ISBN:
- 9780823267866
- eISBN:
- 9780823272426
- Item type:
- book
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823267866.001.0001
- Subject:
- Literature, Shakespeare Studies
Practicing the City: Early Modern London on Stage explores the stage’s unprecedented local turn in late-sixteenth- and early-seventeenth-century London. By taking the city as its subject, this book ...
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Practicing the City: Early Modern London on Stage explores the stage’s unprecedented local turn in late-sixteenth- and early-seventeenth-century London. By taking the city as its subject, this book argues that the stage made possible a radical reorienting of theatrical practice, opening up a reflexive space within which an increasingly diverse population might begin to “practice” the city. In this, the stage began to operate as a medium as well as a model for urban experience. The story this book tells, through the close reading of plays in relation to networks of urban activity, is about the theater’s place within a shifting matrix of local practices that actively mediates the unsettling milieu of rapid urbanization. It is a story about the complex processes of urban plurality and the possibilities for interpretation and invention in the daily lives of ordinary Londoners. Following an introduction that lays out the main claims, the book contains individual chapters that focus on a group of five London plays, including histories (1 and 2Henry IV and Sir Thomas More) and city comedies (Englishmen for My Money and The Roaring Girl).Less
Practicing the City: Early Modern London on Stage explores the stage’s unprecedented local turn in late-sixteenth- and early-seventeenth-century London. By taking the city as its subject, this book argues that the stage made possible a radical reorienting of theatrical practice, opening up a reflexive space within which an increasingly diverse population might begin to “practice” the city. In this, the stage began to operate as a medium as well as a model for urban experience. The story this book tells, through the close reading of plays in relation to networks of urban activity, is about the theater’s place within a shifting matrix of local practices that actively mediates the unsettling milieu of rapid urbanization. It is a story about the complex processes of urban plurality and the possibilities for interpretation and invention in the daily lives of ordinary Londoners. Following an introduction that lays out the main claims, the book contains individual chapters that focus on a group of five London plays, including histories (1 and 2Henry IV and Sir Thomas More) and city comedies (Englishmen for My Money and The Roaring Girl).
CHRISTINE GERRARD
- Published in print:
- 2003
- Published Online:
- January 2010
- ISBN:
- 9780198183884
- eISBN:
- 9780191714122
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198183884.003.0008
- Subject:
- Literature, 18th-century Literature
This chapter discusses Aaron Hill and his role in the London Stage from 1731 to 1736. By early 1732, Hill was so absorbed by the latest events in the London theatre world that he may scarcely have ...
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This chapter discusses Aaron Hill and his role in the London Stage from 1731 to 1736. By early 1732, Hill was so absorbed by the latest events in the London theatre world that he may scarcely have noticed the dwindling stream of letters from Twickenham. Hill encouraged Thomson and Mallet to turn their talents to playwriting. When he managed to get his Athelworld accepted for performance at the Drury Lane for December 10, 1731, it was to be his triumphal return to the London stage after an eight-year absence. Hill watched the affairs at Drury Lane with interest, as the management became unstable. He offered the Drury Lane management advise on pantomimes and new plays, and sent them a new entertainment of his own, The Maggot, a farce satirising Harlequin masques.Less
This chapter discusses Aaron Hill and his role in the London Stage from 1731 to 1736. By early 1732, Hill was so absorbed by the latest events in the London theatre world that he may scarcely have noticed the dwindling stream of letters from Twickenham. Hill encouraged Thomson and Mallet to turn their talents to playwriting. When he managed to get his Athelworld accepted for performance at the Drury Lane for December 10, 1731, it was to be his triumphal return to the London stage after an eight-year absence. Hill watched the affairs at Drury Lane with interest, as the management became unstable. He offered the Drury Lane management advise on pantomimes and new plays, and sent them a new entertainment of his own, The Maggot, a farce satirising Harlequin masques.
Derek Hughes
- Published in print:
- 1996
- Published Online:
- October 2011
- ISBN:
- 9780198119746
- eISBN:
- 9780191671203
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198119746.003.0008
- Subject:
- Literature, Drama, 17th-century and Restoration Literature
In November 1682 the ailing King's Company merged with the more adventurously and expertly managed Duke's, and for the next thirteen years the London stage became a monopoly. The absence of ...
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In November 1682 the ailing King's Company merged with the more adventurously and expertly managed Duke's, and for the next thirteen years the London stage became a monopoly. The absence of commercial rivalry induced an unenterprising reliance upon stock plays, and new plays for a while became scarce and unadventurous. Most comedies, for example, are farcical or lightweight, and in the period up to the end of the 1688 season only four plays (Nathaniel Lee's The Princess of Cleve, Thomas Otway's The Atheist, Aphra Behn's The Lucky Chance, and Charles Sedley's Bellamira) provide a serious and exploratory treatment of human sexuality. The Tory triumph turned hitherto ambivalent dramatists into partisans and thereby assisted the decline of tragedy. With The Duke of Guise and Constantine the Great, John Dryden and Lee make their last, and least distinguished, contributions to Exclusion Crisis drama.Less
In November 1682 the ailing King's Company merged with the more adventurously and expertly managed Duke's, and for the next thirteen years the London stage became a monopoly. The absence of commercial rivalry induced an unenterprising reliance upon stock plays, and new plays for a while became scarce and unadventurous. Most comedies, for example, are farcical or lightweight, and in the period up to the end of the 1688 season only four plays (Nathaniel Lee's The Princess of Cleve, Thomas Otway's The Atheist, Aphra Behn's The Lucky Chance, and Charles Sedley's Bellamira) provide a serious and exploratory treatment of human sexuality. The Tory triumph turned hitherto ambivalent dramatists into partisans and thereby assisted the decline of tragedy. With The Duke of Guise and Constantine the Great, John Dryden and Lee make their last, and least distinguished, contributions to Exclusion Crisis drama.
Lawrence Manley and Sally-Beth MacLean
- Published in print:
- 2014
- Published Online:
- September 2014
- ISBN:
- 9780300191998
- eISBN:
- 9780300206890
- Item type:
- book
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300191998.001.0001
- Subject:
- Literature, Drama
For a brief period in the late Elizabethan Era an innovative company of players dominated the London stage. A fellowship of dedicated thespians, Lord Strange’s Men established their reputation by ...
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For a brief period in the late Elizabethan Era an innovative company of players dominated the London stage. A fellowship of dedicated thespians, Lord Strange’s Men established their reputation by concentrating on “modern matter” performed in a spectacular style, exploring new modes of impersonation, and deliberately courting controversy. Supported by their equally controversial patron, theater connoisseur and potential claimant to the English throne Ferdinando Stanley, the company included Edward Alleyn, considered the greatest actor of the age, as well as George Bryan, Thomas Pope, Augustine Phillips, William Kemp, and John Hemings, who later joined William Shakespeare and Richard Burbage in the Lord Chamberlain’s Men. Though their theatrical reign was relatively short lived, Lord Strange’s Men helped to define the dramaturgy of the period, performing the plays of Shakespeare, Christopher Marlowe, Thomas Kyd, and others with their own distinctive flourish. The authors offer a complete account of the troupe and its enormous influence on Elizabethan theater. Blending theater history and literary criticism, they paint a lively portrait of a unique community of performing artists, their intellectual ambitions and theatrical innovations, their business practices, and their fearless engagements with the politics and religion of their time.Less
For a brief period in the late Elizabethan Era an innovative company of players dominated the London stage. A fellowship of dedicated thespians, Lord Strange’s Men established their reputation by concentrating on “modern matter” performed in a spectacular style, exploring new modes of impersonation, and deliberately courting controversy. Supported by their equally controversial patron, theater connoisseur and potential claimant to the English throne Ferdinando Stanley, the company included Edward Alleyn, considered the greatest actor of the age, as well as George Bryan, Thomas Pope, Augustine Phillips, William Kemp, and John Hemings, who later joined William Shakespeare and Richard Burbage in the Lord Chamberlain’s Men. Though their theatrical reign was relatively short lived, Lord Strange’s Men helped to define the dramaturgy of the period, performing the plays of Shakespeare, Christopher Marlowe, Thomas Kyd, and others with their own distinctive flourish. The authors offer a complete account of the troupe and its enormous influence on Elizabethan theater. Blending theater history and literary criticism, they paint a lively portrait of a unique community of performing artists, their intellectual ambitions and theatrical innovations, their business practices, and their fearless engagements with the politics and religion of their time.
Alison Findlay
- Published in print:
- 2003
- Published Online:
- July 2012
- ISBN:
- 9780719062032
- eISBN:
- 9781781700150
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719062032.003.0009
- Subject:
- History, British and Irish Early Modern History
This chapter outlines the sexual and spiritual politics in the 1634 case and shows how it came to be adapted for the London stage after some of the victims were brought to London for questioning. The ...
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This chapter outlines the sexual and spiritual politics in the 1634 case and shows how it came to be adapted for the London stage after some of the victims were brought to London for questioning. The stories told against them were invented, but they were effective because they expressed common attitudes and drew on still-current memories of the events of 1612, fictions that were again circulated in the 1634 play. They were refashioned around themes such as disruptive women, transgressive sexual energy, and social inversion. Religious politics formed the background to the 1612 trials, but a generation later things had moved on. Not popery but Puritanism and the ritualistic high Anglicanism of the 1630s were the targets of its even-handed satire; and whilst the witches were still the object of real fears and fascinations, they were beginning to become figures of fun.Less
This chapter outlines the sexual and spiritual politics in the 1634 case and shows how it came to be adapted for the London stage after some of the victims were brought to London for questioning. The stories told against them were invented, but they were effective because they expressed common attitudes and drew on still-current memories of the events of 1612, fictions that were again circulated in the 1634 play. They were refashioned around themes such as disruptive women, transgressive sexual energy, and social inversion. Religious politics formed the background to the 1612 trials, but a generation later things had moved on. Not popery but Puritanism and the ritualistic high Anglicanism of the 1630s were the targets of its even-handed satire; and whilst the witches were still the object of real fears and fascinations, they were beginning to become figures of fun.
Greg Walker
- Published in print:
- 2020
- Published Online:
- August 2020
- ISBN:
- 9780198851516
- eISBN:
- 9780191886119
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198851516.003.0001
- Subject:
- Literature, 16th-century and Renaissance Literature
This chapter sketches what is known of Heywood’s early life and career, taking him from Coventry in the early 1500s to the royal household in the 1520s, setting out both what is known about these ...
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This chapter sketches what is known of Heywood’s early life and career, taking him from Coventry in the early 1500s to the royal household in the 1520s, setting out both what is known about these early years and what is not. It offers close readings of two short interludes which it is suggested were produced for performance within the humanist circle around John Rastell and Thomas More, possibly on Rastell’s newly built domestic stage at his house in Finsbury Fields. It identifies elements of these early plays that would become characteristic of Heywood’s later dramaturgy, with its subtle, innovative approach to audience engagement.Less
This chapter sketches what is known of Heywood’s early life and career, taking him from Coventry in the early 1500s to the royal household in the 1520s, setting out both what is known about these early years and what is not. It offers close readings of two short interludes which it is suggested were produced for performance within the humanist circle around John Rastell and Thomas More, possibly on Rastell’s newly built domestic stage at his house in Finsbury Fields. It identifies elements of these early plays that would become characteristic of Heywood’s later dramaturgy, with its subtle, innovative approach to audience engagement.
Adam Fox
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9780198791294
- eISBN:
- 9780191833816
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198791294.003.0009
- Subject:
- History, British and Irish Early Modern History, Cultural History
Chapter 8 deals with the broadside ballads and printed songs issued in Scotland between the sixteenth and the eighteenth centuries. It traces both the import of English texts and the production of ...
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Chapter 8 deals with the broadside ballads and printed songs issued in Scotland between the sixteenth and the eighteenth centuries. It traces both the import of English texts and the production of domestic presses. The manner in which lyrics and tunes from south of the border influenced the development of single-sheet songs in Scotland is assessed. At the same time an independent repertoire of Scottish ballads in print is recovered and analysed. The discussion illustrates the ways in which political events and social change in early modern Scotland are reflected in the texts of these cheap and popular publications.Less
Chapter 8 deals with the broadside ballads and printed songs issued in Scotland between the sixteenth and the eighteenth centuries. It traces both the import of English texts and the production of domestic presses. The manner in which lyrics and tunes from south of the border influenced the development of single-sheet songs in Scotland is assessed. At the same time an independent repertoire of Scottish ballads in print is recovered and analysed. The discussion illustrates the ways in which political events and social change in early modern Scotland are reflected in the texts of these cheap and popular publications.
