Search results

You are looking at 1 - 10 of 20 items for :

  • "early modern dramatists" x
  • Refine by access: All content x
Clear All

This book studies the mother figure in English drama from the mid-sixteenth to the early seventeenth centuries. It explores a range of genres from popular mystery and moral plays to drama written for the court and universities and for the commercial theatres, including history plays, comedies, tragedies, romances and melodrama. Familiar and less-known plays by such diverse dramatists as Udall, Bale, Phillip, Legge, Kyd, Marlowe, Peele, Shakespeare, Middleton, Dekker and Webster are subject to readings that illuminate the narrative value of the mother figure to early modern dramatists. The book explores the typology of the mother figure by examining the ways in which her narrative value in religious, political and literary discourses of the period might impact upon her representation. It addresses a range of contemporary narratives from Reformation and counter-Reformation polemic to midwifery manuals and Mother's Legacies, and from the political rhetoric of Mary I, Elizabeth and James to the reported gallows confessions of mother convicts and the increasingly popular Puritan conduct books. The relations between tradition and change and between typology and narrative are explored through a focus upon the dramatised mother in a series of dramatic narratives that developed out of rapidly shifting social, political and religious conditions.

Open Access (free)
Speaking pictures?
Chloe Porter

imperfection and the potential for viewers to ‘begin’ to ‘end’ what they see. Taking into account the idolatrous status of ‘finish’, chapter 4 asks what early modern dramatists and playgoers understood by ‘destruction’ with reference to Robert Greene’s Friar Bacon and Friar Bungay. This play presents an onstage depiction of iconoclasm in the breaking of a brazen head that is

in Making and unmaking in early modern English drama
Theatre, form, meme and reciprocity
John Drakakis

This chapter explores the formulae available to the practising early modern dramatist, and the ways in which they were deployed. It takes the notion of the ‘meme’ – a recurrent formulation used to negotiate particular situations, both as phenomena to be repeated (and recognised by an audience) and as a starting point for theatrical and textual innovation.

in Shakespeare’s resources
Abstract only
John Drakakis

This chapter offers a survey of the language of source study in relation to Shakespeare that initiates the enquiry into the breadth of Shakespeare’s reading, what was available to him, and how these materials find their way into the discourse of source study and thence into the work of the practising early modern dramatist.

in Shakespeare’s resources
Early modern drama, early British television
Lisa Ward

Screen adaptations of plays by early modern dramatists other than Shakespeare have only recently begun to attract critical interest. This chapter analyses the archival record for three BBC Television productions from 1938 of plays by early modern dramatists—namely, The Duchess of Malfi, The Shoemaker's Holiday and The Knight of the Burning Pestle (1938). Since no audiovisual record survives for these productions, the chapter draws on print materials such as set diagrams, camera scripts and internal memos to reconstruct salient narrative and stylistic features of these television programmes, showing how they made creative virtues out of their technological limitations and exploring what role the plays’ stage traditions might have had in their selection for television production. Particular attention is devoted to The Duchess of Malfi, for which production documentation has survived and which was reviewed in depth for The Listener by the critic Grace Wyndham Goldie. Analysing these archival traces, the chapter explores the narrative choices made in the adaptation of the text, which was significantly shortened, and the innovative visual techniques employed by producer Royston Morley.

in Screen plays
Abstract only
Daniel Cadman, Andrew Duxfield, and Lisa Hopkins

regarding Aristotle is that his comments on tragedy in the Poetics were ‘ describing the Greek tragedy of the fifth century BCE, not prescribing what tragedy should be’. 5 As the chapters in this volume show, early modern dramatists saw tragedy not as a fixed template to be followed, or as a set of constraints upon their creativity, but as a framework in which to undertake bold and dynamic experiments with genre. Another frequently cited element of Aristotle's theories of tragedy relates to the characterisation of the tragic protagonist

in The genres of Renaissance tragedy
Abstract only
Scopophobia in Renaissance texts
Elisabeth Bronfen and Beate Neumeier

early modern dramatists found increasingly sophisticated ways in which to blend them on the English stage and so produce the kind of aesthetic we now recognize as the Gothic. Macabre fusions of death and desire have a continental literary history in texts that ironically belong to comedy. In 1525, Pietro Aretino penned his satirical play La Cortigiana in which he lampooned not

in Gothic Renaissance
Abstract only
Richard Hillman

post-Romantic, post-Freudian, and postmodern models of writing, we still tend to picture early modern dramatists as making conscious and coherent choices among sources for particular elements, even if they commonly drew on several in composing a single work. Often, by contrast, I detect a sort of bricolage or patching together of more than one ‘source’, sometimes including English translations and

in French origins of English tragedy
Janice Valls- Russell

same way as Astyanax is pushed or jumps from the walls of Troy, depending on the choice of narrative, cancelling out hopes of negotiation or compromise that early modern dramatists frequently signal by having characters move between the upper and lower levels. In Pelly’s production, the upstage wall of the Papal Palace was essential to the design and dynamics of the production, ‘a shadow theatre, the

in Interweaving myths in Shakespeare and his contemporaries
Abstract only
Marlowe’s Tamburlaine the Great
Andrew Duxfield

for inspiration. Nonetheless, the de casibus tradition continued to flourish in the second half of the sixteenth century, and continued to exert influence over the creative work of early modern dramatists. In this chapter, as well as briefly tracing the genealogy of the de casibus tradition from Boccaccio to Elizabethan London, I will examine the influence of and engagement with the de casibus tradition in Christopher Marlowe's Tamburlaine the Great (1587). In this reading, I aim to show that Marlowe's drama exploits a tension that lies at the heart of all

in The genres of Renaissance tragedy