A Critical Old Spelling Edition Of The Birth Of Merlin Q 1662
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| Author | : Joanna Udall |
| Publisher | : MHRA |
| Total Pages | : 264 |
| Release | : 1991 |
| Genre | : Art |
| ISBN | : 9780947623340 |
Credited on its first title page to William Shakespeare and William Rowley, The Birth of Merlin continues to provoke speculation about its place in the Shakespeare 'Apocrypha'. The play is an imaginative re-working of the story of Merlin the Magician and his part in the struggle against the Saxon invasion of Britain. It contains not only scenes of love, war, and court politics, but a devil, a clown, and an unusual number of spectacular stage effects. This edition seeks to provide contexts for the play's diverse elements (chronicle history, romance, spectacle, and comedy), and considers its relationships with a wide variety of texts from Geoffrey of Monmouth and the English prose Brut to Shakespeare's Henry VIII.
| Author | : Shokhan Rasool Ahmed |
| Publisher | : AuthorHouse |
| Total Pages | : 129 |
| Release | : 2014-10-09 |
| Genre | : Drama |
| ISBN | : 1496992814 |
The Staging of Witchcraft and a Spectacle of Strangeness: Witchcraft at Court and the Globe presents a new interest in Continental texts on witchcraft coincided with technological advances in the English stage, which made a variety of dramatic effects possible in the private playhouses, such as flying witches, and the appearance of spirits and deities in Elizabethan plays. This book also evaluates how the technology of the Blackfriars playhouse facilitated the appearance of spirits, devils, witches, magicians, deities and dragons on stage. The study investigates the visual spectacle of witchcraft scenes which intersect with the genre of the plays, and it also presents to what extent changing theatrical tastes affect the way that supernatural characters are shown on stage.
| Author | : Sabrina Feldman |
| Publisher | : Dog Ear Publishing |
| Total Pages | : 376 |
| Release | : 2011-10 |
| Genre | : Authorship, Disputed |
| ISBN | : 1457507218 |
Sabrina Feldman manages the Planetary Science Instrument Development Office at the NASA Jet Propulsion Laboratory. Born and raised in Riverside, California, she attended college and graduate school at the University of California at Berkeley, where she enjoyed the wonderful performances of the Berkeley Shakespeare Company, studied Shakespeare's works for a semester with Professor Stephen Booth, and received a Ph.D. in experimental physics in 1996. She has worked on many different instrument development projects for NASA, and is the former deputy director of JPL's Center for Life Detection. Her scientific training, combined with a lifelong love of literature and all things Shakespearean, gives her a unique perspective on the Shakespeare authorship mystery. Dr. Feldman lives in Pasadena, California with her husband and two children. This is her first book. If William Shakespeare wrote the Bard's works... Who wrote the Shakespeare Apocrypha? During his lifetime and for many years afterwards, William Shakespeare was credited with writing not only the Bard's canonical works, but also a series of 'apocryphal' Shakespeare plays. Stylistic threads linking these lesser works suggest they shared a common author or co-author who wrote in a coarse, breezy style, and created very funny clown scenes. He was also prone to pilfering lines from other dramatists, consistent with Robert Greene's 1592 attack on William Shakespeare as an "upstart crow." The anomalous existence of two bodies of work exhibiting distinct poetic voices printed under one man's name suggests a fascinating possibility. Could William Shakespeare have written the apocryphal plays while serving as a front man for the 'poet in purple robes, ' a hidden court poet who was much admired by a literary coterie in the 1590s? And could the 'poet in purple robes' have been the great poet and statesman Thomas Sackville (1536-1608), a previously overlooked authorship candidate who is an excellent fit to the Shakespearean glass slipper? Both of these scenarios are well supported by literary and historical records, many of which have not been previously considered in the context of the Shakespeare authorship debate.
| Author | : Ann F. Howey |
| Publisher | : Boydell & Brewer |
| Total Pages | : 806 |
| Release | : 2006 |
| Genre | : History |
| ISBN | : 1843840685 |
Annotated bibliography of the Arthurian legend in modern English-language fiction, not only in literary texts, but in television, music, and art. The legend of Arthur has been a source of fascination for writers and artists in English since the fifteenth century, when Thomas Malory drew together for the first time in English a variety of Arthurian stories from a number of sources to form the Morte Darthur. It increased in popularity during the Victorian era, when after Tennyson's treatment of the legend, not only authors and dramatists, but painters, musicians, and film-makers found a sourceof inspiration in the Arthurian material. This interdisciplinary, annotated bibliography lists the Arthurian legend in modern English-language fiction, from 1500 to 2000, including literary texts, film, television, music, visual art, and games. It will prove an invaluable source of reference for students of literary and visual arts, general readers, collectors, librarians, and cultural historians--indeed, by anyone interested in the history of the waysin which Camelot has figured in post-medieval English-speaking cultures. ANN F. HOWEY is Assistant Professor at Brock University, Canada; STEPHEN R. REIMER is Associate Professor at the University of Alberta, Canada
| Author | : John Webster |
| Publisher | : Cambridge University Press |
| Total Pages | : 586 |
| Release | : 1995 |
| Genre | : Drama |
| ISBN | : 9780521260619 |
This is the third and final volume of the Cambridge edition of the works of John Webster. It contains the final complete play in the edition, the City comedy Anything for a Quiet Life, as well as Webster's spectacular Lord Mayor's pageant Monuments of Honour and his Induction and additions to John Marston's The Malcontent. Webster's non-dramatic work is also included: the deeply felt verse elegy to Prince Henry entitled A Monumental Column, his various shorter poems, including verses for the engraving of The Progeny of ... Prince James, and the thirty-two New Characters added to the sixth edition of Sir Thomas Overbury's Characters. This Cambridge critical edition preserves the original spelling of all the plays, poetry and prose, and incorporates the most recent editorial scholarship, including valuable information on Webster's share in the collaborative plays, and new critical methods and textual theory.
| Author | : Jan Frans van Dijkhuizen |
| Publisher | : DS Brewer |
| Total Pages | : 238 |
| Release | : 2007 |
| Genre | : Literary Criticism |
| ISBN | : 9781843841142 |
The so-called "Devil Theatre" is here set against its context of non-dramatic texts on possession and exorcism, providing many new insights. Representations of demonic possession and exorcism rituals abound in English Renaissance drama, an area which this book seeks to illuminate by comparison with non-dramatic works. The author investigates stage images of possessionin relation to a range of early modern demonological, theological and medical prose texts on the subject, looking specifically at how the theatre responded to these texts. He argues that the stage appropriated debates over demonicpossession to explore the competing roles of the inner life and the body in early modern definitions of selfhood. The theatre also employed the contemporary controversy over possession and exorcism to investigate the politics ofreligion, and to consider the nature of monarchic power. Moreover, because demonic possession cases and exorcism rituals were frequently dismissed by conformist writers as a piece of theatre, they offered an opportunity to reflecton the nature of drama and role-playing. JAN FRANS VAN DIJKHUIZEN is lecturer and research fellow at the University of Leiden.
| Author | : Tristan Marshall |
| Publisher | : Manchester University Press |
| Total Pages | : 337 |
| Release | : 2018-04-30 |
| Genre | : History |
| ISBN | : 1526134748 |
Theatre and empire looks at the genesis of British national identity in the reign of King James VI and I. While devolution is currently decentralising Britain, this book examines how the idea of a united kingdom was created in the first place. It does this by studying two things: the political language of the King's project to replace England, Scotland and Wales with a single kingdom of Great Britain; and cultural representations of empire on the public and private stages. The book argues that between 1603 and 1625 a group of playwrights celebrated a new national consciousness in works as diverse as Middleton’s Hengist, King of Kent, Rowley’s The Birth of Merlin and Shakespeare’s Cymbeline. Specifically Jacobean interdisciplinary studies are few compared with Elizabethan and Caroline works, but the book attempts to redress the balance by offering a fresh appraisal of James Stuart’s reign. Looking at both established and little-known plays and playwrights, Theatre and empire rewrites our understanding of the political and cultural context of the Jacobean stage.
| Author | : William Shakespeare |
| Publisher | : Bloomsbury Publishing |
| Total Pages | : 544 |
| Release | : 2014-09-25 |
| Genre | : Drama |
| ISBN | : 1408143070 |
King Henry VIII has one of the fullest theatrical histories of any play in the Shakespeare canon, yet has been consistently misrepresented, both in performance and in criticism. This edition offers a new perspective on this ironic, multi-layered, collaborative play, revealing it as a complex meditation on the progress of Reformation which sees English life since Henry VIII's day as a series of bewildering changes in national and personal allegiance and represents 'history' as the product of varied and contradictory testimony. McMullan makes a powerful claim for the rehabilitation of Henry VIII, providing the fullest performance history of any edition to date and reading the work not as a marginal 'late' Shakespeare play but as a play which is paradigmatic of the achievement of Renaissance drama as a whole.`This is a staggeringly brilliant, captivating edition that will undoubtedly occasion a huge surge of critical interest in this neglected play. For those of use who have never taken Henry VIII very seriously ' perhaps dismissing it as a late collaborative play of no consequence or as conservative propaganda ' McMullan's introduction is genuinely revelatory.'Eric Rasmussen, University of Nevada at Reno, Shakespeare Survey
| Author | : Katherine Schaap Williams |
| Publisher | : Cornell University Press |
| Total Pages | : 213 |
| Release | : 2021-06-15 |
| Genre | : Literary Criticism |
| ISBN | : 1501753517 |
Unfixable Forms explores how theatrical form remakes—and is in turn remade by—early modern disability. Figures described as "deformed," "lame," "crippled," "ugly," "sick," and "monstrous" crowd the stage in English drama of the sixteenth and seventeenth centuries. In each case, such a description distills cultural expectations about how a body should look and what a body should do—yet, crucially, demands the actor's embodied performance. In the early modern theater, concepts of disability collide with the deforming, vulnerable body of the actor. Reading dramatic texts alongside a diverse array of sources, ranging from physic manuals to philosophical essays to monster pamphlets, Katherine Schaap Williams excavates an archive of formal innovation to argue that disability is at the heart of the early modern theater's exploration of what it means to put the body of an actor on the stage. Offering new interpretations of canonical works by William Shakespeare, Ben Jonson, Thomas Dekker, Thomas Middleton, and William Rowley, and close readings of little-known plays such as The Fair Maid of the Exchange and A Larum For London, Williams demonstrates how disability cuts across foundational distinctions between nature and art, form and matter, and being and seeming. Situated at the intersections of early modern drama, disability studies, and performance theory, Unfixable Forms locates disability on the early modern stage as both a product of cultural constraints and a spark for performance's unsettling demands and electrifying eventfulness.
| Author | : David Nicol |
| Publisher | : University of Toronto Press |
| Total Pages | : 233 |
| Release | : 2012-01-01 |
| Genre | : Performing Arts |
| ISBN | : 1442643706 |
Can the inadvertent clashes between collaborators produce more powerful effects than their concordances? For Thomas Middleton and William Rowley, the playwriting team best known for their tragedy The Changeling, disagreements and friction proved quite beneficial for their work. This first full-length study of Middleton and Rowley uses their plays to propose a new model for the study of collaborative authorship in early modern English drama. David Nicol highlights the diverse forms of collaborative relationships that factor into a play's meaning, including playwrights, actors, companies, playhouses, and patrons. This kaleidoscopic approach, which views the plays from all these perspectives, throws new light on the Middleton-Rowley oeuvre and on early modern dramatic collaboration as a whole.
