{"title":"Studies In Performance And Early Modern Drama","description":"\u003cp\u003eDelve into the captivating world of early modern drama with this insightful series. Discover scholarly essays and analyses that illuminate the vibrant performances of the era. Essential reading for theatre enthusiasts and academics alike.\u003c\/p\u003e","products":[{"product_id":"horror-plays-of-the-english-restoration-book-anne-hermanson-9781032098852","title":"The Horror Plays of the English Restoration","description":"A decade after the Restoration of Charles II, a disturbing group of tragedies, dubbed by modern critics the horror or the blood-and-torture villain tragedies, burst onto the London stage. Ten years later they were gone - absorbed into the partisan frenzy which enveloped the theatre at the height of the Exclusion Crisis. Despite burgeoning interest, until now there has been no full investigation into why these deeply unsettling plays were written when they were and why they so fascinated audiences for the period that they held the stage. The author's contention is that the genre of horror gains its popularity at times of social dislocation. It reflects deep schisms in society, and English society was profoundly unsettled and in a (delayed) state of shock from years of social upheaval and civil conflict. Through recurrent images of monstrosity, madness, venereal disease, incest and atheism, Hermanson argues that the horror dramatists trope deep-seated and unresolved anxieties - engaging profoundly with contemporary discourse by abreacting the conspiratorial climate of suspicion and fear. Some go as far as to question unequivocally the moral and political value of monarchy, vilifying the office of kingship and pushing ideas of atheism further than in any drama produced since Seneca. This study marks the first comprehensive investigation of these macabre tragedies in which playwrights such as Nathaniel Lee, Thomas Shadwell, Elkanah Settle, Thomas Otway and the Earl of Rochester take their audience on an exploration of human iniquity, thrusting them into an examination of man's relationship to God, power, justice and evil.","brand":"WoB","offers":[{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":50200399118609,"sku":"GOR013886457","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ NEW \/ INGRAM","offer_id":51223984111889,"sku":"NIN9781032098852","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":52430833090833,"sku":"NLS9781032098852","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/1032098856.jpg?v=1750751011"},{"product_id":"cultural-uses-of-the-caesars-on-the-english-renaissance-stage-book-lisa-hopkins-9780754662631","title":"The Cultural Uses of the Caesars on the English Renaissance Stage","description":"Caesarian power was a crucial context in the Renaissance, as rulers in Europe, Russia and Turkey all sought to appropriate Caesarian imagery and authority, but it has been surprisingly little explored in scholarship.  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Analyzing plays by Shakespeare and a number of other playwrights of the period, she demonstrates how early modern English dramatists, using Roman modes of literary representation as cover, commented on the issues of the day and critiqued contemporary monarchs.","brand":"WoB","offers":[{"title":"US \/ GOOD \/ SBYB","offer_id":50358428139793,"sku":"CIN0754662632G","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":52484465819921,"sku":"NLS9780754662631","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ NEW \/ INGRAM","offer_id":53035280761105,"sku":"NIN9780754662631","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0754662632.jpg?v=1751138775"},{"product_id":"laughing-and-weeping-in-early-modern-theatres-book-matthew-steggle-9781138249400","title":"Laughing and Weeping in Early Modern Theatres","description":"Did Shakespeare's original audiences weep? 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Finally, the author explores how Heywood participated in the civic life of London in his writings beyond the playhouse. Here Rowland examines pamphlets, translations, and the sequence of lord mayor's pageants that Heywood produced as the political crisis deepened.  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In combination with the ambiguity of the plays, he suggests, this focus produces a tension that both heightens dramatic effect and facilitates a cynical response to contemporary evocations of and pleas for unity. This book has three main aims. Firstly, it establishes that Marlowe's tragedies exhibit a profound interest in the process of reduction and the ideal of unity. Duxfield shows this interest to manifest itself in different ways in each of the plays. Secondly, it identifies this interest in unity and unification as an engagement in a cultural discourse that was particularly prevalent in England during Marlowe's writing career; during the late 1580s and early 1590s heightened inter-confessional tension, the threat and reality of foreign invasion and public puritan dissent in the form of the Marprelate controversy provoked considerable public anxiety about social discord. 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This study encourages a new recognition and treatment of certain aspects of the plays as evidence – and demonstrates the significance of the implications of that new information. This book is also an assessment of the competing narratives about the processes involved in early modern performance: about the status of manuscript playbooks, about the parts that players memorized, about the functions of the bookkeeper, about casting, about prompting, and about rehearsal practices. Leslie Thomson investigates the bases for the interdependent beliefs that an early modern player relied only on his part to prepare for a performance, that rehearsal was minimal, and that a bookkeeper compensated for these circumstances by prompting any player who was \"out of his part.\" By focusing on often ignored (or downplayed) requirements and challenges of early modern play texts, Thomson provides evidence for answers that will foster a more nuanced and thorough understanding of original performance practices. That will, in turn, influence how we read, study, and edit the plays.   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This collection engages with modern interest in the spectacle and historical performances of pageantry and entertainments, including royal entries, progresses, coronation ceremonies, Lord Mayor’s Shows, and processions. Through a discussion of the extant texts, visual records, archival material, and emerging projects in the digital humanities, the chapters elucidate the forms in which the period itself recorded its public rituals, pageantry, and ephemeral entertainments. The diversity of approaches contained in these chapters reflects the collaborative nature of pageantry and civic entertainments, as well as the broad socio-cultural resonances of this form of drama, and in doing so offers a study that is multi-faceted and wide-ranging, much like civic performance itself.    Ideal for scholars of Early Modern global politics, economics, and culture; literary and performance studies; print culture; and the digital humanities, Civic Performance casts a new lens on street pageantry and entertainments in the historically and culturally significant locus of Early Modern London.","brand":"WoB","offers":[{"title":"GB \/ NEW \/ GARDNERS","offer_id":50791482294545,"sku":"NGR9781032174884","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ NEW \/ INGRAM","offer_id":51017791668497,"sku":"NIN9781032174884","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":52431969190161,"sku":"NLS9781032174884","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/1032174889.jpg?v=1750950995"},{"product_id":"women-players-in-england-15001660-book-peter-parolin-9780754665359","title":"Women Players in England, 15001660","description":"Offering evidence of women's extensive contributions to the theatrical landscape, this volume sharply challenges the assumption that the stage was 'all male' in early modern England. 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