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Kevin Colls

also walled in and opposite to the said first mentioned garden. (Receipts from Gastrell’s Will, Shakespeare Birthplace Trust Archives: DR 27/187) The site then passed to William Hunt’s son, Charles Henry, who also proceeded to purchase Nash’s House in 1785. In 1819, the site of New Place was

in Finding Shakespeare’s New Place
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Pavel Drábek and M. A. Katritzky

definition or coherent formulation. Defining this concept by its outward show or by its function would necessarily impose a restrictive view. While we aim to identify and present objective findings about early modern theatre, we are constrained by our recognition of the uncertainty, relativity and often frustrating fuzziness of the objects of our study. While we may have a playtext, an archival document, or

in Transnational connections in early modern theatre
Grace Ioppolo

become by 1601 an externally and internally regulated business with a wellestablished set of practices and standards for dramatists, censors, actors and audiences. These documents include the printed volumes and online databases of the Records of Early English Drama (REED) series and hundreds of pages of Philip Henslowe’s archives and those of his son-in-law Edward Alleyn, now available online at www.henslowe-alleyn.org.uk . 3

in Essex
Southwell’s sacralised poetic
Anne Sweeney

, 16 July 1592; 26 July 1592, Westminster Archives, 4, 305; quoted in Philip Caraman, S.J., A Study in Friendship: Saint Robert Southwell and Henry Garnet (Saint Louis, MO: The Institute of Jesuit Sources, 1995), pp. 82–3; hereafter cited in the text. 8 John W. O’Malley, The First Jesuits

in Robert Southwell
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New Place, 1677–1759
Kevin Colls and William Mitchell

Sir John’s house differed from those of the earlier periods. They were larger, more sharply edged and more regularly fashioned. Throughout the excavations of the nineteenth century, many tiles, plaster and stone ornaments were found in the backfilled cellars. Stone pilasters, vases and other relics were also found. None of these building materials have survived in any known archive or collection. All

in Finding Shakespeare’s New Place
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Political theatre
Andrew James Hartley

narrative. I have used an array of means to try to get close to those specific productions, keeping an eye on both practicalities and a sense of critical purpose. In some cases I foreground newspaper reviews as a way of contextualising the production within the larger culture; at other times I have made use of video archives, actor interviews, and my personal experience as an audience member. In each case I have tried to

in Julius Caesar
Performing quacks at court
M. A. Katritzky

another. Figure 7 Supplication for a temporary licence to practise medicine in Dijon, signed by Giovanni Paulo Alfieri (also giving his stage name: ‘Alfier dit Braguette’), dated 6 July 1639. Reproduced by permission of the Archives de la Ville

in Transnational connections in early modern theatre
The Earl of Essex and Lady Penelope Rich
Chris Laoutaris

Entry for 13 June 1583 in Calendar of letters, dispatches, and state Papers, relating to negotiations between England and Spain, preserved in the archives at Simancas and elsewhere , 1550–1586, vol. 3, ed. Martin A. S. Hume (London: Longman, 1896), no. 343, p. 477. 46 Correspondence of Robert Dudley, Earl of

in Essex
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Forms of translation in the work of Richard Hakluyt
Henry S. Turner

narrowly and ‘correctly’ around problems of philology, the archival recovery of classical Greek and Latin, and the studia humanitatis –what Kristeller loosely described as a ‘literary’ tradition distinct from theology or natural philosophy – was always more material than we tend to remember, a method concerned with the physical substance of manuscripts, books, and documents

in Formal matters
Robert Shaughnessy

screen entertainer Bruce Forsyth; as the archive video reveals, the portrayal does not merely evoke or allude to Forsyth’s persona, but is a note-for-note near-perfect copy of it. 5 Born in 1928, Forsyth cut his teeth in variety, pantomime and circus, offering a mix of song-and-dance, comedy and strong-man act; he first came to wider public notice in 1958 when he became frontman for the long

in As You Like It