Early Responses To Renaissance Drama

A study of early responses to the plays of Shakespeare, Marlowe, and other Renaissance dramatists.

Medieval and Renaissance Drama in England is an annual volume committed to the publication of essays and reviews related to drama and theatre history to 1642. Volume 30, an anniversary issue, contains eight essays, three review essays, and 12 briefer reviews of important books in the field.

This book re-examines early modern musical culture to suggest how music shapes meaning in plays by Shakespeare and his contemporaries.

This essay collection builds on the latest research on the topic of theatre audiences in early modern England. In broad terms, the project answers the question, 'How do we define the relationships between performance and audience?'.

A New Companion to Renaissance Drama provides an invaluable summary of past and present scholarship surrounding the most popular and influential literary form of its time. Original interpretations from leading scholars set the scene for important paths of future inquiry. A colorful, comprehensive and interdisciplinary overview of the material conditions of Renaissance plays, England's most important dramatic period Contributors are both established and emerging scholars, with many leading international figures in the discipline Offers a unique approach by organizing the chapters by cultural context, theatre history, genre studies, theoretical applications, and material studies Chapters address newest departures and future directions for Renaissance drama scholarship Arthur Kinney is a world-renowned figure in the field

Medieval and Renaissance Drama in England is an international volume published every year in hardcover, containing essays and studies as well as book reviews of the many significant books and essays dealing with the cultural history of medieval and early modern England as expressed by and realized in its drama exclusive of Shakespeare.

Passionate Playgoing in Early Modern England examines the emotional effect of stage performance on the minds of the early modern theatre audience.