Early Modern Performance Beyond the Public Stage
Extra-Theatrical Forms and Spaces
Herausgeber: Sen, Amrita; Wood, Jennifer Linhart
Early Modern Performance Beyond the Public Stage
Extra-Theatrical Forms and Spaces
Herausgeber: Sen, Amrita; Wood, Jennifer Linhart
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The first major work to explore and analyse the popular 'extra-theatrical' performances which occurred in late medieval and Renaissance England.
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The first major work to explore and analyse the popular 'extra-theatrical' performances which occurred in late medieval and Renaissance England.
Produktdetails
- Produktdetails
- Verlag: The Arden Shakespeare
- Seitenzahl: 484
- Erscheinungstermin: 18. September 2025
- Englisch
- Abmessung: 240mm x 161mm x 30mm
- Gewicht: 886g
- ISBN-13: 9781350367968
- ISBN-10: 1350367966
- Artikelnr.: 69820398
- Herstellerkennzeichnung
- Libri GmbH
- Europaallee 1
- 36244 Bad Hersfeld
- gpsr@libri.de
- Verlag: The Arden Shakespeare
- Seitenzahl: 484
- Erscheinungstermin: 18. September 2025
- Englisch
- Abmessung: 240mm x 161mm x 30mm
- Gewicht: 886g
- ISBN-13: 9781350367968
- ISBN-10: 1350367966
- Artikelnr.: 69820398
- Herstellerkennzeichnung
- Libri GmbH
- Europaallee 1
- 36244 Bad Hersfeld
- gpsr@libri.de
Amrita Sen is Associate Professor of English at the University of Calcutta, India. She is co-editor of Civic Performance: Pageantry and Entertainments in Early Modern London (2020), and a special issue of the Journal for Early Modern Cultural Studies on "Alternative Histories of the East India Company" (2017). Jennifer Linhart Wood is Assistant Professor of English at George Mason University, USA. She is the author of Sounding Otherness in Early Modern Drama and Travel: Uncanny Vibrations in the English Archive (2019), winner of the 2021 MRDS David Bevington Award for Best New Book.
Introduction: 'All the World's a Stage': Reconceptualizing Renaissance
Performance
Jennifer Linhart Wood, George Mason University, USA, and Amrita Sen,
University of Calcutta, India
Section I: Documents of Performance
Chapter 1: Stage Directions in the Medieval English Theatre: Functions,
Conventions, and Transitions
Philip Butterworth, University of Leeds, UK
Chapter 2: 'Take some part in this booke and act it': Amateur Actor's Parts
and Professional Drama
Daniel Yabut, École Nationale Superieur d'Art Dramatique (ENSAD) and
Université Paul-Valéry Montpellier 3, France
Chapter 3: Marks of Amateur Performance: Edward Dering's Manuscript of
King Henry the Fourth and Other Traces of Performance-Minded Readers
Meaghan Brown, National Endowment for the Humanities, USA
Chapter 4: Oxford and the Morris Dance: University and Communal
Performances
Natália Pikli, Eötvös Loránd University, Hungary
Section II: Devotional Performances
Chapter 5: Recreation, Pleasure and Performance in the Medieval Convent
Olivia Robinson, University of Birmingham, UK
Chapter 6: Closet Catholicism, Private Entertainments, and Shakespeare in
Seventeenth-Century Yorkshire
Chelsea McKelvey, Clemson University, USA
Chapter 7: Performing Religious Reform in the Mid-Tudor Parish Church
Anne Heminger, University of Tampa, USA
Section III: Musical Performances
Chapter 8: Local Community and Performativity: The Tutbury Minstrel Court
Csilla Virág, Eötvös Loránd University, Hungary
Chapter 9: Contextualising Shakespeare's As You Like It Within Court
Performance
Murat Ögütcü, Adiyaman University, Türkiye
Chapter 10: Memory, Music, and the Politics of Forgotten Entertainments in
Early Modern London
Sarah F. Williams, University of South Carolina, USA
Section III: Political Entertainments
Chapter 11: The King's Players and London's Civic Drama: Richard Burbage
and London's Love to the Royal Prince Henry (1610)
Siobhan Keenan, De Montfort University, UK
Chapter 12: From Britain to Fairyland: Prince Henry's Investiture and the
Fictionalizing Power of the Stuart Court Masques
Gabriel Lonsberry, Jacksonville State University, USA
Chapter 13: Revising Patriarchal Gender Politics in the Masques of Charles
I and Henrietta Maria
Effie Botonaki, Aristotle University of Thessaloniki, Greece
Chapter 14: Performative Encounters in Seventeenth-Century British North
America
Alden T. Vaughan, Columbia University, USA, and Virginia Mason Vaughan,
Clark University, USA
Section IV: Materialities of Performance
Chapter 15: 'Under Pretence of Rope Dancing': Headlining Performances at
the Interregnum Red Bull
Emma Rose Kraus, University of Kent, UK
Chapter 16: Monsters and Machines: Puppets as Performers, Props, and Stages
in English Political Pageantry
Nicole Sheriko, Yale University, USA
Chapter 17: Performing Play: Chess, Performance, and Spectacle in Early
Modern England Souvik Mukherjee, Centre for Studies in Social Sciences
Calcutta, India
Section V: Spectacular Performances
Chapter 18: Performing Primates: Simantics, Racialization, and
Extra-theatrical Archives
Teresa Simone, University of Mississippi, USA
Chapter 19: Fireworks and Pyrotechnic Performance
Maria Shmygol, British Shakespeare Association, UK
Chapter 20: Early Modern Performative Failures
Abbie Weinberg, Independent Scholar, USA
Performance
Jennifer Linhart Wood, George Mason University, USA, and Amrita Sen,
University of Calcutta, India
Section I: Documents of Performance
Chapter 1: Stage Directions in the Medieval English Theatre: Functions,
Conventions, and Transitions
Philip Butterworth, University of Leeds, UK
Chapter 2: 'Take some part in this booke and act it': Amateur Actor's Parts
and Professional Drama
Daniel Yabut, École Nationale Superieur d'Art Dramatique (ENSAD) and
Université Paul-Valéry Montpellier 3, France
Chapter 3: Marks of Amateur Performance: Edward Dering's Manuscript of
King Henry the Fourth and Other Traces of Performance-Minded Readers
Meaghan Brown, National Endowment for the Humanities, USA
Chapter 4: Oxford and the Morris Dance: University and Communal
Performances
Natália Pikli, Eötvös Loránd University, Hungary
Section II: Devotional Performances
Chapter 5: Recreation, Pleasure and Performance in the Medieval Convent
Olivia Robinson, University of Birmingham, UK
Chapter 6: Closet Catholicism, Private Entertainments, and Shakespeare in
Seventeenth-Century Yorkshire
Chelsea McKelvey, Clemson University, USA
Chapter 7: Performing Religious Reform in the Mid-Tudor Parish Church
Anne Heminger, University of Tampa, USA
Section III: Musical Performances
Chapter 8: Local Community and Performativity: The Tutbury Minstrel Court
Csilla Virág, Eötvös Loránd University, Hungary
Chapter 9: Contextualising Shakespeare's As You Like It Within Court
Performance
Murat Ögütcü, Adiyaman University, Türkiye
Chapter 10: Memory, Music, and the Politics of Forgotten Entertainments in
Early Modern London
Sarah F. Williams, University of South Carolina, USA
Section III: Political Entertainments
Chapter 11: The King's Players and London's Civic Drama: Richard Burbage
and London's Love to the Royal Prince Henry (1610)
Siobhan Keenan, De Montfort University, UK
Chapter 12: From Britain to Fairyland: Prince Henry's Investiture and the
Fictionalizing Power of the Stuart Court Masques
Gabriel Lonsberry, Jacksonville State University, USA
Chapter 13: Revising Patriarchal Gender Politics in the Masques of Charles
I and Henrietta Maria
Effie Botonaki, Aristotle University of Thessaloniki, Greece
Chapter 14: Performative Encounters in Seventeenth-Century British North
America
Alden T. Vaughan, Columbia University, USA, and Virginia Mason Vaughan,
Clark University, USA
Section IV: Materialities of Performance
Chapter 15: 'Under Pretence of Rope Dancing': Headlining Performances at
the Interregnum Red Bull
Emma Rose Kraus, University of Kent, UK
Chapter 16: Monsters and Machines: Puppets as Performers, Props, and Stages
in English Political Pageantry
Nicole Sheriko, Yale University, USA
Chapter 17: Performing Play: Chess, Performance, and Spectacle in Early
Modern England Souvik Mukherjee, Centre for Studies in Social Sciences
Calcutta, India
Section V: Spectacular Performances
Chapter 18: Performing Primates: Simantics, Racialization, and
Extra-theatrical Archives
Teresa Simone, University of Mississippi, USA
Chapter 19: Fireworks and Pyrotechnic Performance
Maria Shmygol, British Shakespeare Association, UK
Chapter 20: Early Modern Performative Failures
Abbie Weinberg, Independent Scholar, USA
Introduction: 'All the World's a Stage': Reconceptualizing Renaissance
Performance
Jennifer Linhart Wood, George Mason University, USA, and Amrita Sen,
University of Calcutta, India
Section I: Documents of Performance
Chapter 1: Stage Directions in the Medieval English Theatre: Functions,
Conventions, and Transitions
Philip Butterworth, University of Leeds, UK
Chapter 2: 'Take some part in this booke and act it': Amateur Actor's Parts
and Professional Drama
Daniel Yabut, École Nationale Superieur d'Art Dramatique (ENSAD) and
Université Paul-Valéry Montpellier 3, France
Chapter 3: Marks of Amateur Performance: Edward Dering's Manuscript of
King Henry the Fourth and Other Traces of Performance-Minded Readers
Meaghan Brown, National Endowment for the Humanities, USA
Chapter 4: Oxford and the Morris Dance: University and Communal
Performances
Natália Pikli, Eötvös Loránd University, Hungary
Section II: Devotional Performances
Chapter 5: Recreation, Pleasure and Performance in the Medieval Convent
Olivia Robinson, University of Birmingham, UK
Chapter 6: Closet Catholicism, Private Entertainments, and Shakespeare in
Seventeenth-Century Yorkshire
Chelsea McKelvey, Clemson University, USA
Chapter 7: Performing Religious Reform in the Mid-Tudor Parish Church
Anne Heminger, University of Tampa, USA
Section III: Musical Performances
Chapter 8: Local Community and Performativity: The Tutbury Minstrel Court
Csilla Virág, Eötvös Loránd University, Hungary
Chapter 9: Contextualising Shakespeare's As You Like It Within Court
Performance
Murat Ögütcü, Adiyaman University, Türkiye
Chapter 10: Memory, Music, and the Politics of Forgotten Entertainments in
Early Modern London
Sarah F. Williams, University of South Carolina, USA
Section III: Political Entertainments
Chapter 11: The King's Players and London's Civic Drama: Richard Burbage
and London's Love to the Royal Prince Henry (1610)
Siobhan Keenan, De Montfort University, UK
Chapter 12: From Britain to Fairyland: Prince Henry's Investiture and the
Fictionalizing Power of the Stuart Court Masques
Gabriel Lonsberry, Jacksonville State University, USA
Chapter 13: Revising Patriarchal Gender Politics in the Masques of Charles
I and Henrietta Maria
Effie Botonaki, Aristotle University of Thessaloniki, Greece
Chapter 14: Performative Encounters in Seventeenth-Century British North
America
Alden T. Vaughan, Columbia University, USA, and Virginia Mason Vaughan,
Clark University, USA
Section IV: Materialities of Performance
Chapter 15: 'Under Pretence of Rope Dancing': Headlining Performances at
the Interregnum Red Bull
Emma Rose Kraus, University of Kent, UK
Chapter 16: Monsters and Machines: Puppets as Performers, Props, and Stages
in English Political Pageantry
Nicole Sheriko, Yale University, USA
Chapter 17: Performing Play: Chess, Performance, and Spectacle in Early
Modern England Souvik Mukherjee, Centre for Studies in Social Sciences
Calcutta, India
Section V: Spectacular Performances
Chapter 18: Performing Primates: Simantics, Racialization, and
Extra-theatrical Archives
Teresa Simone, University of Mississippi, USA
Chapter 19: Fireworks and Pyrotechnic Performance
Maria Shmygol, British Shakespeare Association, UK
Chapter 20: Early Modern Performative Failures
Abbie Weinberg, Independent Scholar, USA
Performance
Jennifer Linhart Wood, George Mason University, USA, and Amrita Sen,
University of Calcutta, India
Section I: Documents of Performance
Chapter 1: Stage Directions in the Medieval English Theatre: Functions,
Conventions, and Transitions
Philip Butterworth, University of Leeds, UK
Chapter 2: 'Take some part in this booke and act it': Amateur Actor's Parts
and Professional Drama
Daniel Yabut, École Nationale Superieur d'Art Dramatique (ENSAD) and
Université Paul-Valéry Montpellier 3, France
Chapter 3: Marks of Amateur Performance: Edward Dering's Manuscript of
King Henry the Fourth and Other Traces of Performance-Minded Readers
Meaghan Brown, National Endowment for the Humanities, USA
Chapter 4: Oxford and the Morris Dance: University and Communal
Performances
Natália Pikli, Eötvös Loránd University, Hungary
Section II: Devotional Performances
Chapter 5: Recreation, Pleasure and Performance in the Medieval Convent
Olivia Robinson, University of Birmingham, UK
Chapter 6: Closet Catholicism, Private Entertainments, and Shakespeare in
Seventeenth-Century Yorkshire
Chelsea McKelvey, Clemson University, USA
Chapter 7: Performing Religious Reform in the Mid-Tudor Parish Church
Anne Heminger, University of Tampa, USA
Section III: Musical Performances
Chapter 8: Local Community and Performativity: The Tutbury Minstrel Court
Csilla Virág, Eötvös Loránd University, Hungary
Chapter 9: Contextualising Shakespeare's As You Like It Within Court
Performance
Murat Ögütcü, Adiyaman University, Türkiye
Chapter 10: Memory, Music, and the Politics of Forgotten Entertainments in
Early Modern London
Sarah F. Williams, University of South Carolina, USA
Section III: Political Entertainments
Chapter 11: The King's Players and London's Civic Drama: Richard Burbage
and London's Love to the Royal Prince Henry (1610)
Siobhan Keenan, De Montfort University, UK
Chapter 12: From Britain to Fairyland: Prince Henry's Investiture and the
Fictionalizing Power of the Stuart Court Masques
Gabriel Lonsberry, Jacksonville State University, USA
Chapter 13: Revising Patriarchal Gender Politics in the Masques of Charles
I and Henrietta Maria
Effie Botonaki, Aristotle University of Thessaloniki, Greece
Chapter 14: Performative Encounters in Seventeenth-Century British North
America
Alden T. Vaughan, Columbia University, USA, and Virginia Mason Vaughan,
Clark University, USA
Section IV: Materialities of Performance
Chapter 15: 'Under Pretence of Rope Dancing': Headlining Performances at
the Interregnum Red Bull
Emma Rose Kraus, University of Kent, UK
Chapter 16: Monsters and Machines: Puppets as Performers, Props, and Stages
in English Political Pageantry
Nicole Sheriko, Yale University, USA
Chapter 17: Performing Play: Chess, Performance, and Spectacle in Early
Modern England Souvik Mukherjee, Centre for Studies in Social Sciences
Calcutta, India
Section V: Spectacular Performances
Chapter 18: Performing Primates: Simantics, Racialization, and
Extra-theatrical Archives
Teresa Simone, University of Mississippi, USA
Chapter 19: Fireworks and Pyrotechnic Performance
Maria Shmygol, British Shakespeare Association, UK
Chapter 20: Early Modern Performative Failures
Abbie Weinberg, Independent Scholar, USA