Bibliography
Published online by Cambridge University Press: 10 March 2022
Summary
A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
- Type
- Chapter
- Information
- Playing and Playgoing in Early Modern EnglandActor, Audience and Performance, pp. 262 - 276Publisher: Cambridge University PressPrint publication year: 2022
References
Anderson, Miranda, The Renaissance Extended Mind (Basingstoke: Palgrave Macmillan, 2015)Google Scholar
Anderson, Susan L., Echo and Meaning on Early Modern English Stages (Basingstoke: Palgrave Macmillan, 2018)Google Scholar
Arab, Ronda, ‘Transforming the Younger Son: The Disruptive Affect of the Gentleman-Apprentice in Eastward Ho’, in Historical Affects and the Early Modern Theater, ed. Arab, Ronda, Dowd, Michelle M., and Zucker, Adam (New York: Routledge, 2015), 198–210Google Scholar
Arab, Ronda, Dowd, Michelle M., and Zucker, Adam (eds.), Historical Affects and the Early Modern Theater (New York: Routledge, 2015)CrossRefGoogle Scholar
Astington, John H., Actors and Acting in Shakespeare’s Time (Cambridge: Cambridge University Press, 2010)Google Scholar
Astington, John H., English Court Theatre, 1558–1642 (Cambridge: Cambridge University Press, 1999)Google Scholar
Astington, John H., ‘Eye and Hand on Shakespeare’s Stage’, Renaissance and Reformation, 22.1 (1986), 109–21Google Scholar
Attié, Katherine B, ‘“Gently to Hear, Kindly to Judge”: Minds at Work in Henry V’, in Shakespeare and Judgment, ed. Curran, Kevin (Edinburgh: Edinburgh University Press, 2017), 93–114Google Scholar
August, Hannah, ‘“Tickling the Senses with Sinful Delight”: The Pleasure of Reading Comedies in Early Modern England’, in The Senses in Early Modern England, 1558–1660, ed. Smith, Simon, Watson, Jackie, and Kenny, Amy (Manchester: Manchester University Press, 2015), 201–16Google Scholar
Bailey, Amanda, Flaunting: Style and the Subversive Male Body in Renaissance England (Toronto: University of Toronto Press, 2007)CrossRefGoogle Scholar
Bainter, Nicole, ‘An Exercise in Shame: The Blush in A Woman Killed with Kindness’, in Affective Performance and Cognitive Science: Body, Brain and Being, ed. Shaughnessy, Nicola (London: Bloomsbury, 2013), 91–102CrossRefGoogle Scholar
Balme, Christopher, The Theatrical Public Sphere (Cambridge: Cambridge University Press, 2014)Google Scholar
Bartels, Emily C., and Smith, Emma (eds.), Christopher Marlowe in Context (Cambridge: Cambridge University Press, 2012)Google Scholar
Baskerville, Charles, The Elizabethan Jig and Related Song Drama (Chicago: University of Chicago Press, 1929)Google Scholar
Baumbach, Sibylle, Shakespeare and the Art of Physiognomy (Tirril, Penrith: Humanities-Ebooks, 2007).Google Scholar
Beckwith, Sarah, Shakespeare and the Grammar of Forgiveness (Ithaca, NY: Cornell University Press, 2012)Google Scholar
Ben-Amos, Ilana Krausman, Adolescence and Youth in Early Modern England (New Haven: Yale University Press, 1994)Google Scholar
Bentley, Gerald Eades, The Jacobean and Caroline Stage, 7 vols. (Oxford: Clarendon, 1941–68)Google Scholar
Berek, Peter, ‘Tamburlaine’s Weak Sons: Imitation Before 1593’, Renaissance Drama, 13 (1982), 55–82.Google Scholar
Berger, Harry Jr., Imaginary Audition: Shakespeare on Stage and Page (Berkeley: University of California Press, 1989)Google Scholar
Bevington, David M., Action Is Eloquence: Shakespeare’s Language of Gesture (Harvard, MA: Harvard University Press, 1984)CrossRefGoogle Scholar
Bindman, David, and Gates, Henry Louis Jr. (eds.), The Image of the Black in Western Art from the ‘Age of Discovery’ to the Age of Abolition: Renaissance and Baroque (Cambridge, MA: Belknap Press, 2010)Google Scholar
Bishop, Tom, ‘The Art of Playing’, in Medieval Shakespeares: Pasts and Presents, ed. Morse, Ruth, Cooper, Helen, and Holland, Peter (Cambridge: Cambridge University Press, 2013), 159–76Google Scholar
Bishop, Tom, ‘Shakespeare’s Theatre Games’, Journal of Medieval and Early Modern Studies, 40 (2010), 65–88Google Scholar
Blunt, Richard, ‘The Evolution of Blackface Cosmetics on the Early Modern Stage’, in The Materiality of Color: The Production, Circulation and Application of Dyes and Pigments 1400–1800, ed. Feeser, Andrea, Goggin, Maureen Daly, and Tobin, Beth Fowkes (Farnham, Surrey: Ashgate, 2012), 217–34Google Scholar
Bly, Mary, ‘Playing the Tourist in Early Modern London: Selling the Liberties Onstage’, PMLA, 122.1 (2007), 61–71Google Scholar
Bly, Mary, Queer Virgins and Virgin Queans on the Early Modern Stage (Oxford: Oxford University Press, 2000)Google Scholar
Bovilsky, Lara, Barbarous Play: Race on the Renaissance Stage (Minneapolis: University of Minnesota Press, 2008)Google Scholar
Bowsher, Julian, The Rose Theatre: An Archaeological Discovery (London: Museum of London, 1998)Google Scholar
Bowsher, Julian, Shakespeare’s London Theatreland: Archaeology, History and Drama (London: Museum of London Archaeology, 2012)Google Scholar
Brooks, Lynn Matluck, Women’s Work: Making Dance in Europe Before 1800 (Madison: University of Wisconsin Press, 2007)Google Scholar
Brown, Georgia, Redefining Elizabethan Literature (Cambridge: Cambridge University Press, 2004)CrossRefGoogle Scholar
Brown, Pamela Allen, and Parolin, Peter (eds.), Women Players in England 1500–1600: Beyond the All-Male Stage (Burlington: Ashgate, 2005)Google Scholar
Burnett, Mark Thornton, Masters and Servants in English Renaissance Drama and Culture: Authority and Obedience (Houndmills: Macmillan, 1997)Google Scholar
Burrow, Colin, Shakespeare and Classical Antiquity (Oxford: Oxford University Press, 2013)Google Scholar
Butler, Anita Marguerite, ‘The Shakespearean Blush: Body, Colour, and Emotion within Material and Dramatic Culture’, unpublished PhD thesis, King’s College London (2019)Google Scholar
Butterworth, Philip, Theatre of Fire: Special Effects in Early English and Scottish Theatre (London: Society for Theatre Research, 1998)Google Scholar
Cahill, Patricia A., Unto the Breach: Martial Formations, Historical Trauma, and the Early Modern Stage (Oxford: Oxford University Press, 2008)CrossRefGoogle Scholar
Cannan, Paul D., ‘Ben Jonson, Authorship, and the Rhetoric of English Dramatic Prefatory Criticism’, Studies in Philology, 99 (2002), 178–201Google Scholar
Capp, Bernard, ‘Playgoers, Players and Cross-Dressing in Early Modern London: The Bridewell Evidence’, The Seventeenth Century, 18 (2003), 159–71Google Scholar
Carlson, Marvin, The Haunted Stage: The Theatre as Memory Machine (Ann Arbor: University of Michigan Press, 2003)Google Scholar
Castaldo, Annalisa, and Knight, Rhonda (eds.), Stage Matters: Props, Bodies, and Space in Shakespearean Performance (Vancouver: Fairleigh Dickinson University Press, 2018)Google Scholar
Cathcart, Charles, ‘Edward Greene, Goldsmith; William Marston, Apprentice; and Eastward Ho!’, Early Theatre, 19 (2016), 81–100Google Scholar
Cerasano, S. P., ‘The Chamberlain’s – Kings Men’, in A Companion to Shakespeare, ed. Scott Kastan, David (Oxford: Blackwell, 1999), 328–45Google Scholar
Cerasano, S. P., ‘The Theatre, Inside Out: Early Modern Playhouse Yards as Liminal Spaces’, in Playing Offstage: The Theatre as a Presence or Factor in the Real World, ed. Homan, Sidney (Maryland: Lexington, 2017), 135–60Google Scholar
Chapman, Matthieu, Anti-Black Racism in Early Modern English Drama: The Other “Other” (New York: Routledge, 2017)Google Scholar
Chedgzoy, Kate, Hansen, Melanie, and Trill, Suzanne (eds.), Voicing Women: Gender and Sexuality in Early Modern Writing (Edinburgh: Edinburgh University Press, 1998)Google Scholar
Classen, Constance, Worlds of Sense: Exploring the Senses in History and Across Cultures (London: Routledge, 1993)Google Scholar
Cook, Ann Jennalie, ‘Audiences: Investigation, Interpretation, Invention’, in A New History of Early English Drama, ed. Cox, John D and Kastan, David Scott (New York: Columbia University Press, 1997), 305–20Google Scholar
Cook, Ann Jennalie, The Privileged Playgoers of Shakespeare’s London (Princeton: Princeton University Press, 1981)Google Scholar
Cook, Carol, ‘The Sign and Semblance of Her Honour: Reading Gender Difference in Much Ado about Nothing’, PMLA, 101 (1986), 186–202Google Scholar
Cowling, George Herbert, Music on the Shakespearian Stage (Cambridge: Cambridge University Press, 1913)Google Scholar
Cox, John D., and Scott Kastan, David (eds.), A New History of Early English Drama (New York: Columbia University Press, 1997)Google Scholar
Craik, Katharine A., and Pollard, Tanya (eds.), Shakespearean Sensations: Experiencing Literature in Early Modern England (Cambridge: Cambridge University Press, 2013)Google Scholar
Curran, Kevin (ed.), Shakespeare and Judgment (Edinburgh: Edinburgh University Press, 2017)Google Scholar
Danson, Lawrence, ‘Henry V: King, Chorus, and Critics’, Shakespeare Quarterly, 34.1 (Spring 1983), 27–43Google Scholar
Dawson, Anthony B. and Yachnin, Paul, The Culture of Playgoing in Shakespeare’s England: A Collaborative Debate (Cambridge: Cambridge University Press, 2001)Google Scholar
Deats, Sara Munson, and Logan, Robert A., Marlowe’s Empery: Expanding His Critical Contexts (Newark: University of Delaware Press, 2002)Google Scholar
Dessen, Alan C., ‘“The Difference betwixt Reporting and Representing”: Thomas Heywood and the Playgoer’s Imagination’, in Acts of Criticism: Performance Matters in Shakespeare and His Contemporaries, ed. Nelsen, Paul and Schlueter, June (Madison: Fairleigh Dickinson University Press, 2006), 46–57Google Scholar
Dessen, Alan C., and Thomson, Leslie, A Dictionary of Stage Directions in English Drama, 1580–1642 (Cambridge: Cambridge University Press, 1999)Google Scholar
Deutermann, Allison K., Listening for Theatrical Form in Early Modern England (Edinburgh: Edinburgh University Press, 2016)Google Scholar
Dimmock, Matthew, Mythologies of the Prophet Muhammad in Early Modern English Culture (Cambridge: Cambridge University Press, 2013)Google Scholar
Duffy, Eamon, The Stripping of the Altars: Traditional Religion in England 1400–1580 (New Haven: Yale University Press, 1992)Google Scholar
Dugan, Holly, ‘“As Dirty as Smithfield and Stinking Every Whit”: The Smell of the Hope Theatre’, in Shakespeare’s Theatres and the Effects of Performance, ed. Karim-Cooper, Farah and Stern, Tiffany (London: Bloomsbury Arden Shakespeare, 2013), 195–213Google Scholar
Dunne, Derek, ‘Blushing on Cue: The Forensics of the Blush in Early Modern Drama’, Shakespeare Bulletin, 34.2 (Summer 2016), 233–52Google Scholar
Dustagheer, Sarah, Shakespeare’s Two Playhouses: Repertory and Theatre Space at the Globe and the Blackfriars, 1599–1613 (Cambridge: Cambridge University Press, 2017)Google Scholar
Dustagheer, Sarah, and Woods, Gillian (eds.), Stage Directions and Shakespearean Theatre (London: Bloomsbury Arden Shakespeare, 2018)Google Scholar
Dutton, Richard, Shakespeare: Court Dramatist (Oxford: Oxford University Press, 2016)CrossRefGoogle Scholar
Dutton, Richard (ed.), The Oxford Handbook of Early Modern Theatre (Oxford: Oxford University Press, 2009)Google Scholar
Eden, Kathy, Poetic and Legal Fiction in the Aristotelian Tradition (Princeton: Princeton University Press, 1986)Google Scholar
Egan, Gabriel, ‘Hearing or Seeing a Play?: Evidence of Early Modern Theatrical Terminology’, Ben Jonson Journal, 8 (2001), 327–47Google Scholar
Erne, Lukas, Shakespeare as Literary Dramatist (Cambridge: Cambridge University Press, 2003)Google Scholar
Escolme, Bridget, Talking to the Audience: Shakespeare, Performance, Self (London: Routledge, 2005)Google Scholar
Farmer, Alan B., and Lesser, Zachary (eds.), DEEP: Database of Early English Playbooks (2007), http://deep.sas.upenn.eduGoogle Scholar
Farmer, Alan B., and Zucker, Adam (eds.), Localizing Caroline Drama (New York: Palgrave Macmillan, 2006)Google Scholar
Fitzpatrick, Tim, Playwright, Space and Place in Early Modern Performance: Shakespeare and Company (Farnham, Surrey: Ashgate, 2011)Google Scholar
Franko, Mark, The Dancing Body in Renaissance Choreography (c. 1416–1589) (Birmingham, AL: Summa Publications, 1986)Google Scholar
Franssen, Paul, ‘De Witt, van Buchell, the Wooden O, and the Yellow M’, in Renaissance Go-Betweens: Cultural Exchange in Early Modern Europe, ed. Höfele, Andreas and von Koppenfels, Werner (Berlin: Walter de Gruyter, 2005), 78–87Google Scholar
Frey, Christopher, and Lieblein, Leonore, ‘“My Breasts Sear’d”: The Self-Starved Female Body and A Woman Killed with Kindness’, Early Theatre, 7.1 (2004), 45–66CrossRefGoogle Scholar
Gleason, John B., ‘The Dutch Humanist Origins of the De Witt Drawing of the Swan Theatre’, Shakespeare Quarterly, 32 (1981), 324–38Google Scholar
Gordon, D. J., ‘Poet and Architect: The Intellectual Setting of the Quarrel between Ben Jonson and Inigo Jones’, Journal of the Warburg and Courtauld Institutes, 12 (1949), 152–78Google Scholar
Griffin, Eric J., English Renaissance Drama and the Specter of Spain: Ethnopoetics and Empire (Philadelphia: University of Pennsylvania Press, 2009)Google Scholar
Griffith, Eva, A Jacobean Company and Its Playhouse: The Queen’s Servants at the Red Bull Theatre (c.1605–1619) (Cambridge: Cambridge University Press, 2013)Google Scholar
Griffiths, Paul, Youth and Authority: Formative Experiences in England, 1560–1640 (Oxford: Clarendon, 1996)CrossRefGoogle Scholar
Groves, Beatrice, Texts and Traditions: Religion in Shakespeare, 1592–1604 (Oxford: Clarendon, 2007)Google Scholar
Gurnis, Misa, Mixed Faith and Shared Feeling: Theatre in Post-Reformation London (Philadelphia: University of Pennsylvania Press, 2018)Google Scholar
Gurr, Andrew, Playgoing in Shakespeare’s London, 3rd ed. (Cambridge: Cambridge University Press, 2004)Google Scholar
Gurr, Andrew, The Shakespearean Stage 1574–1642, 4th ed. (Cambridge: Cambridge University Press, 2009)Google Scholar
Gurr, Andrew, The Shakespearian Playing Companies (Oxford: Oxford University Press, 1996)Google Scholar
Gurr, Andrew, Shakespeare’s Opposites: The Admiral’s Company 1594–1625 (Cambridge: Cambridge University Press, 2009)Google Scholar
Gurr, Andrew, and Karim-Cooper, Farah (eds.), Moving Shakespeare Indoors: Performance and Repertoire in the Jacobean Playhouse (Cambridge: Cambridge University Press, 2014)Google Scholar
Gutierrez, Nancy A., ‘Shall She Famish Then?’: Female Food Refusal in Early Modern England, 2nd ed. (London: Routledge, 2016)Google Scholar
Habib, Imtiaz, Black Lives in the English Archives, 1500–1677 (London: Routledge, 2008)Google Scholar
Hall, Kim F., Things of Darkness: Economies of Race and Gender in Early Modern England (Ithaca, NY: Cornell University Press, 1996)Google Scholar
Hampton-Reeves, Stuart, and Escolme, Bridget (eds.), Shakespeare and the Making of Theatre (London: Red Globe Press, 2012)Google Scholar
Harris, Jonathan Gil, and Korda, Natasha (eds.), Staged Properties in Early Modern English Drama (Cambridge: Cambridge University Press, 2002)Google Scholar
Heim, Caroline, Audience as Performer: The Changing Role of Theatre Audiences in the Twenty-First Century (London: Routledge, 2015)Google Scholar
Henderson, Diana E., Passion Made Public: Elizabethan Lyric, Gender and Performance (Urbana: University of Illinois Press, 1995)Google Scholar
Hillebrand, Harold Newcomb, The Child Actors: A Chapter in Elizabethan Stage History (Urbana: University of Illinois Press, 1926)Google Scholar
Hirrel, Michael J., ‘Alcazar, the Lord Admiral’s, and Aspects of Performance’, Review of English Studies, 66 (2014), 40–59Google Scholar
Hobgood, Allison P., Passionate Playgoing in Early Modern England (Cambridge: Cambridge University Press, 2014)Google Scholar
Holland, Peter, ‘“Travelling Hopefully”: The Dramatic Form of Journeys in English Renaissance Drama’, in Travel and Drama in Shakespeare’s Time, ed. Maquerlot, Jean-Pierre and Willems, Michèle (Cambridge: Cambridge University Press, 1996), 160–78Google Scholar
Homan, Sidney (ed.), Playing Offstage: The Theatre as a Presence or Factor in the Real World (Maryland: Lexington, 2017)Google Scholar
Hornback, Robert, Racism and Early Blackface Comic Traditions: From the Old World to the New, Palgrave Studies in Theatre and Performance History (Cham, Switzerland: Palgrave Macmillan, 2018)CrossRefGoogle Scholar
Howard, Jean E., Theater of a City: The Places of London Comedy, 1598–1642 (Philadelphia: University of Pennsylvania Press, 2007)Google Scholar
Howard, Skiles, The Politics of Courtly Dancing in Early Modern England (Amherst: University of Massachusetts Press, 2007)Google Scholar
Hunter, G. K., ‘Elizabethan Theatrical Genres and Literary Theory’, in The Cambridge History of Literary Criticism, vol. 3, The Renaissance, ed. Norton, Glyn P. (Cambridge: Cambridge University Press, 1999), 248–58Google Scholar
Hunter, G. K., ‘Flatcaps and Bluecoats: Visual Signals on the Elizabethan Stage’, Essays and Studies, n.s. 33 (1980), 16–47Google Scholar
Hutson, Lorna, ‘Liking Men: Ben Jonson’s Closet Opened’, English Literary History, 71.4 (2004), 1065–96Google Scholar
Ichikawa, Mariko, ‘Continuities and Innovations in Staging’, in Moving Shakespeare Indoors: Performance and Repertoire in the Jacobean Playhouse, ed. Gurr, Andrew and Karim-Cooper, Farah (Cambridge: Cambridge University Press, 2014), 79–94Google Scholar
Ichikawa, Mariko, The Shakespearean Stage Space (Cambridge: Cambridge University Press, 2012)Google Scholar
Ingold, Tim, ‘Culture on the Ground: The World Perceived through the Feet’, Journal of Material Culture, 9.3 (2000), 315–40Google Scholar
Ingram, Martin, ‘Ridings, Rough Music and Mocking Rhymes in Early Modern England’, in Popular Culture in Seventeenth-Century England, ed. Reay, Barry (Beckenham: Croom Helm, 1985), 166–97Google Scholar
Ioppolo, Grace, Dramatists and Their Manuscripts in the Age of Shakespeare, Jonson, Middleton, and Heywood (London: Routledge, 2013)CrossRefGoogle Scholar
Iyengar, Sujata, Shades of Difference: Mythologies of Skin Colour in Early Modern England (Philadelphia: University of Pennsylvania Press, 2005)Google Scholar
Jenstad, Janelle, and Mclean-Fiander, Kim (eds.), Civitas Londinvm. The Map of Early Modern London (University of Victoria, 2012), https://mapoflondon.uvic.ca/Google Scholar
Johnson, Laurie, Shakespeare’s Lost Playhouse: Eleven Days at Newington Butts (London: Routledge, 2017)Google Scholar
Johnson, Laurie, Sutton, John, and Tribble, Evelyn (eds.), Embodied Cognition and Shakespeare’s Theatre: The Early Modern Body–Mind (New York: Routledge, 2014)Google Scholar
Jones, G. P., ‘Henry V: The Chorus and the Audience’, in Shakespeare Survey Volume 31: Shakespeare and the Classical World, ed. Muir, Kenneth (Cambridge: Cambridge University Press, 1979), 93–104Google Scholar
Karim-Cooper, Farah, Cosmetics in Shakespearean and Renaissance Drama, 2nd ed. (Edinburgh: Edinburgh University Press, 2012)Google Scholar
Karim-Cooper, Farah, The Hand on the Shakespearean Stage: Gesture, Touch and the Spectacle of Dismemberment (London: Bloomsbury Arden Shakespeare, 2016)Google Scholar
Karim-Cooper, Farah, and Stern, Tiffany (eds.), Shakespeare’s Theatres and the Effects of Performance (London: Bloomsbury Arden Shakespeare, 2013)Google Scholar
Kay, W. David, ‘Parodic Wit and Social Satire in Chapman, Jonson, and Marston’s Eastward Ho!’, English Literary Renaissance, 42 (2012), 391–424Google Scholar
Kernodle, George R., From Art to Theatre: Form and Convention in the Renaissance (Chicago: University of Chicago Press, 1964)Google Scholar
King, Ros, ‘Plays, Playing, and Make-Believe: Thinking and Feeling in Shakespearean Drama’, in Embodied Cognition: The Early Modern Body–Mind, ed. Johnson, Laurie, Sutton, John, and Tribble, Evelyn (New York: Routledge, 2014), 27–45Google Scholar
Knapp, James A. (ed.), Shakespeare and the Power of the Face (Farnham, Surrey: Ashgate, 2015)Google Scholar
Knapp, James A., ‘Visual and Ethical Truth in The Winter’s Tale’, Shakespeare Quarterly, 55.3 (2004), 252–78Google Scholar
Knutson, Roslyn L., ‘Marlowe in Repertory, 1587–1593’, in Christopher Marlowe, Theatrical Commerce and the Book Trade, ed. Melnikoff, Kirk and Knutson, Roslyn L. (Cambridge: Cambridge University Press, 2018), 26–40Google Scholar
Knutson, Roslyn L., ‘Marlowe Reruns: Repertorial Commerce and Marlowe’s Plays in Revival’, in Marlowe’s Empery: Expanding His Critical Contexts, ed. Deats, Sara Munson and Logan, Robert A. (Newark: University of Delaware Press, 2002), 25–42Google Scholar
Korda, Natasha, ‘Insubstantial Pageants: Women’s Work and the (Im)material Culture of the Early Modern Stage’, in Discoveries from Archaeology, ed. Gabriel Egan, special issue of Shakespeare: Journal of the British Shakespeare Association, 7.4 (2011), 412–21Google Scholar
Lake, Peter, with Questier, Michael, The Antichrist’s Lewd Hat: Protestants, Papists and Players in Post-Reformation England (New Haven: Yale University Press, 2002)Google Scholar
Lake, Peter, and Pincus, Steven (eds.), The Politics of the Public Sphere in Early Modern England (Manchester: Manchester University Press, 2007)Google Scholar
Lamb, Edel, Performing Childhood in the Early Modern Theatre: The Children’s Playing Companies, 1599–1613 (Basingstoke: Palgrave Macmillan, 2009)Google Scholar
Langley, Eric, Shakespeare’s Contagious Sympathies: Ill Communications (Oxford: Oxford University Press, 2018)Google Scholar
Lawrence, W. J., and Walter, H. Godfrey, ‘The Bear Garden Contract of 1606 and What It Implies’, Architectural Review, 47 (1920), 152–5Google Scholar
Lefebvre, Henri, The Production of Space, trans. Donald Nicholson-Smith (Oxford: Blackwell, 1991)Google Scholar
Leggatt, Alexander, Citizen Comedy in the Age of Shakespeare (Toronto: University of Toronto Press, 1973)Google Scholar
Levy, F. J., ‘Henry Peacham and the Art of Drawing’, Journal of the Warburg and Courtauld Institutes, 37 (1974), 174–90Google Scholar
Lewis, Sarah, Time and Gender on the Shakespearean Stage (Cambridge: Cambridge University Press, 2020)Google Scholar
Lin, Erika T., Shakespeare and the Materiality of Performance (Basingstoke: Palgrave Macmillan, 2012)Google Scholar
Lopez, Jeremy, Theatrical Convention and Audience Response in Early Modern Drama (Cambridge: Cambridge University Press, 2003)Google Scholar
Low, Jennifer A., and Myhill, Nova (eds.), Imagining the Audience in Early Modern Drama, 1558–1642 (Basingstoke: Palgrave Macmillan, 2011)Google Scholar
Lupton, Julia Reinhard, ‘Judging Forgiveness: Hannah Arendt, W. H. Auden, and The Winter’s Tale’, New Literary History, 45.4 (2014), 641–63Google Scholar
Luttfring, Sara D., Bodies, Speech, and Reproductive Knowledge in Early Modern England (Abingdon: Routledge, 2016)Google Scholar
Mack, Peter, Elizabethan Rhetoric: Theory and Practice (Cambridge: Cambridge University Press, 2002)Google Scholar
Maguire, Laurie, Othello: Language and Writing (London: Bloomsbury Arden Shakespeare, 2014)Google Scholar
Manley, Lawrence, and MacLean, Sally-Beth, Lord Strange’s Men and Their Plays (New Haven: Yale University Press, 2014)Google Scholar
Maquerlot, Jean-Pierre, and Willems, Michèle (eds.), Travel and Drama in Shakespeare’s Time (Cambridge: Cambridge University Press, 1996)Google Scholar
McCarthy, Jeanne H., The Children’s Troupes and the Transformation of English Theater, 1509–1608: Pedagogue Playwrights, Playbooks, and Play-Boys (London: Routledge, 2017)Google Scholar
McGavin, John J., and Walker, Greg, Imagining Spectatorship: From the Mysteries to the Shakespearean Stage (Oxford: Oxford University Press, 2016)Google Scholar
McInnis, David, Mind-Travelling and Voyage Drama in Early Modern England (Basingstoke: Palgrave Macmillan, 2013)Google Scholar
McManus, Clare, Women on the Renaissance Stage: Anna of Denmark and Female Masquing in the Stuart Court 1590–1619 (Manchester: Manchester University Press, 2002)Google Scholar
McManus, Clare, and Munro, Lucy (eds.), Renaissance Women’s Performance and the Dramatic Canon: Theatre History, Evidence, and Narratives, special issue of Shakespeare Bulletin, 33 (2015)Google Scholar
McMillin, Scott, and MacLean, Sally-Beth, The Queen’s Men and Their Plays (Cambridge: Cambridge University Press, 1998)Google Scholar
Melnikoff, Kirk, and Knutson, Roslyn L. (eds.), Christopher Marlowe, Theatrical Commerce and the Book Trade (Cambridge: Cambridge University Press, 2018)Google Scholar
Menzer, Paul, Anecdotal Shakespeare: A New Performance History (London: Bloomsbury Arden Shakespeare, 2015)Google Scholar
Menzer, Paul, ‘Crowd Control’, in Imagining the Audience in Early Modern Drama, 1558–1642, ed. Low, Jennifer A. and Myhill, Nova (Basingstoke: Palgrave Macmillan, 2011), 19–36Google Scholar
Menzer, Paul (ed.), Inside Shakespeare: Essays on the Blackfriars Stage (Selingsgrove: Susquehanna University Press, 2006)Google Scholar
Menzer, Paul, and Hamlet, Jess, ‘“Peter Falls into the Hole”: Nonce Stage Directions and the Idea of the Dictionary’, in Stage Directions and Shakespearean Theatre, ed. Dustagheer, Sarah and Woods, Gillian (London: Bloomsbury Arden Shakespeare, 2018), 69–90Google Scholar
Miller, Edwin Haviland, ‘Thomas Dekker, Hack Writer’, Notes & Queries, 200 (April 1955), 145–50Google Scholar
Morse, Ruth, Cooper, Helen, and Holland, Peter (eds.), Medieval Shakespeares: Pasts and Presents (Cambridge: Cambridge University Press, 2013)Google Scholar
Mukherji, Subha, Law and Representation in Early Modern England (Cambridge: Cambridge University Press, 2006)Google Scholar
Mullaney, Steven, The Place of the Stage: License, Play, and Power in Renaissance England (Ann Arbor: University of Michigan Press, 1988)Google Scholar
Mullaney, Steven, The Reformation of Emotions in the Age of Shakespeare (Chicago: University of Chicago Press, 2015)Google Scholar
Munro, Lucy, Children of the Queen’s Revels: A Jacobean Theatre Repertory (Cambridge: Cambridge University Press, 2005)Google Scholar
Munro, Lucy, Shakespeare in the Theatre: The King’s Men (London: Bloomsbury Arden Shakespeare, 2020)Google Scholar
Munro, Lucy, ‘“They Eat Each Other’s Arms”: Stage Blood and Body Parts’, in Shakespeare’s Theatres and the Effects of Performance, ed. Karim-Cooper, Farah and Stern, Tiffany (London: Bloomsbury Arden Shakespeare, 2013), 73–93Google Scholar
Nardizzi, Vin, Wooden Os: Shakespeare’s Theatres and England’s Trees (Toronto: University of Toronto Press, 2013)Google Scholar
Nelsen, Paul, and Schlueter, June (eds.), Acts of Criticism: Performance Matters in Shakespeare and His Contemporaries (Madison: Fairleigh Dickinson University Press, 2006)Google Scholar
Nelson, Alan H., Early Cambridge Theatres (Cambridge: Cambridge University Press, 1994)Google Scholar
Nungezer, Edwin, A Dictionary of Actors and Other Persons Associated with the Public Representation of Plays in England Before 1642 (New Haven: Yale University Press, 1929)Google Scholar
Orrell, John, The Quest for Shakespeare’s Globe (Cambridge: Cambridge University Press, 1983)Google Scholar
Ostovich, Helen, Syme, Holger Schott, and Griffin, Andrew (eds.), Locating the Queen’s Men, 1583–1603: Material Practices and Conditions of Playing (Farnham, Surrey: Ashgate, 2009),Google Scholar
Palfrey, Simon, and Stern, Tiffany, Shakespeare in Parts (Oxford: Oxford University Press, 2007)Google Scholar
Panek, Jennifer, ‘Shame and Pleasure in The Changeling’, Renaissance Drama, 42.2 (2014), 191–215Google Scholar
Pangallo, Matteo, Playwriting Playgoers in Shakespeare’s Theater (Philadelphia: University of Pennsylvania Press, 2017)Google Scholar
Paster, Gail Kern, The Body Embarrassed: Drama and the Disciplines of Shame in Early Modern England (Ithaca, NY: Cornell University Press, 1993)Google Scholar
Paster, Gail Kern, Humoring the Body: Emotions and the Shakespearean Stage (Chicago: University of Chicago Press, 2004)Google Scholar
Paul, J. Gavin, ‘English Renaissance Drama: The Imprints of Performance’, Literature Compass, 5.3 (2008), 529–40Google Scholar
Pechter, Edward, Othello and Interpretive Traditions (Iowa City: University of Iowa Press, 2012)Google Scholar
Pendergast, John, ‘“Comedies for Commodities”: Genre and Early Modern Dramatic Epistles’, English Literary Renaissance, 38.3 (2008), 483–505Google Scholar
Poitevin, Kimberly, ‘Inventing Whiteness: Cosmetics, Race, and Women in Early Modern England’, Journal for Early Modern Cultural Studies, 11.1 (Spring/Summer 2011), 59–89Google Scholar
Preedy, Chloe Kathleen, Marlowe’s Literary Scepticism: Politic Religion and Post-Reformation Polemic (London: Bloomsbury, 2012)Google Scholar
Preiss, Richard, ‘John Taylor, William Fennor, and the “Trial of Wit”’, Shakespeare Studies, 43 (2015), 50–78Google Scholar
Rastall, Richard, ‘Female Roles in All-Male Casts’, Medieval English Theatre, 7 (1985), 25–51Google Scholar
Ravelhofer, Barbara, The Early Stuart Masque: Dance, Costume, and Music (Oxford: Oxford University Press, 2006)Google Scholar
Ray, Sid, ‘Staging Epilepsy in Othello’, in Stage Matters: Props, Bodies, and Space in Shakespearean Performance, ed. Castaldo, Annalisa and Knight, Rhonda (Vancouver: Fairleigh Dickinson University Press, 2018), 57–72Google Scholar
Ring, Morgan, ‘Annotating the Golden Legend in Early Modern England’, Renaissance Quarterly, 72 (2019), 816–62Google Scholar
Rogers, Amy J., A Monster with a Thousand Hands: The Discursive Spectator in Early Modern England (Philadelphia: University of Pennsylvania Press, 2018)Google Scholar
Roodenburg, Herman (ed.), A Cultural History of the Senses in the Renaissance (London: Bloomsbury, 2014)Google Scholar
Rutter, Tom, Shakespeare and the Admiral’s Men: Reading Across Repertories on the London Stage, 1594–1600 (Cambridge: Cambridge University Press, 2017)Google Scholar
Sager, Jenny, The Aesthetics of Spectacle in Early Modern Drama and Modern Cinema: Robert Greene’s Theatre of Attractions (Basingstoke: Palgrave Macmillan, 2013)Google Scholar
Salkeld, Duncan, ‘New Allusions to London “Shrewes” and Playhouses, 1575–1605’, Early Theatre, 8 (2005), 101–8Google Scholar
Schanzer, Ernest, ‘Thomas Platter’s Observations on the Elizabethan Stage’, Notes and Queries, 201 (1956), 465–7Google Scholar
Schneider, Brian W., The Framing Text in Early Modern English Drama: ‘Whining’ Prologues and ‘Armed’ Epilogues (Farnham, Surrey: Ashgate, 2011)Google Scholar
Schoenbaum, Samuel, William Shakespeare: A Compact Documentary Life (New York: Oxford University Press, 1977)Google Scholar
Scott, Susie, ‘Performing the Blush: A Dramaturgical Perspective’, in The Psychological Significance of the Blush, ed. Ray Crozier, W. and de Jong, Peter J. (Cambridge: Cambridge University Press, 2013), 203–21Google Scholar
Scott-Warren, Jason, ‘Was Elizabeth I Richard II?: The Authenticity of Lambarde’s “Conversation”’, Review of English Studies n.s., 64.264 (April 2013), 208–30Google Scholar
Selleck, Nancy, The Interpersonal Idiom in Shakespeare, Donne, and Early Modern Culture (Basingstoke: Palgrave Macmillan, 2008)Google Scholar
Shapiro, James, 1599: A Year in the Life of William Shakespeare (London: Faber & Faber, 2005)Google Scholar
Shapiro, Michael, Gender in Play on the Shakespearean Stage: Boy Heroines and Female Pages (Ann Arbor: University of Michigan Press, 1996)Google Scholar
Shaughnessy, Nicola (ed.), Affective Performance and Cognitive Science: Body, Brain and Being, (London: Bloomsbury, 2013)Google Scholar
Shaughnessy, Robert (ed.), The Cambridge Companion to Shakespeare and Popular Culture (Cambridge: Cambridge University Press, 2007)Google Scholar
Shepherd-Barr, Kirsten, Theatre and Evolution from Ibsen to Becket (New York: Columbia University Press, 2015)Google Scholar
Smith, Bruce R., The Acoustic World of Early Modern England: Attending to the O-Factor (Chicago: University of Chicago Press, 1999)Google Scholar
Smith, Bruce R., Ancient Scripts and Modern Experience on the English Stage 1500–1700 (Princeton: Princeton University Press, 1988)Google Scholar
Smith, Emma, ‘Shakespeare Serialized: An Age of Kings’, in The Cambridge Companion to Shakespeare and Popular Culture, ed. Robert Shaughnessy, (Cambridge: Cambridge University Press, 2007), 134–49Google Scholar
Smith, Ian, ‘Othello’s Black Handkerchief’, Shakespeare Quarterly, 64.1 (Spring 2013), 1–25Google Scholar
Smith, Ian, Race and Rhetoric in the Renaissance: Barbarian Errors (New York: Palgrave Macmillan, 2009)Google Scholar
Smith, Simon, ‘Acting Amiss: Towards a History of Actorly Craft and Playhouse Judgement’, in Shakespeare Survey, vol. 70, Creating Shakespeare, ed. Holland, Peter (Cambridge: Cambridge University Press, 2017), 188–99Google Scholar
Smith, Simon (ed.), Shakespeare/Sense: Contemporary Readings in Sensory Culture (London: Bloomsbury Arden Shakespeare, 2020)Google Scholar
Smith, Steven R., ‘The London Apprentices as Seventeenth-Century Adolescents’, Past and Present, 61 (1973), 149–61Google Scholar
Smith, Warren D., ‘The Henry V Choruses in the First Folio’, Journal of English and Germanic Philology, 53.1 (January 1954), 38–57Google Scholar
Sohmer, Steve, Shakespeare’s Mystery Play: The Opening of the Globe Theatre 1599 (Manchester: Manchester University Press, 1999)Google Scholar
Sokol, B. J., Art and Illusion in The Winter’s Tale (Manchester: Manchester University Press, 1994)Google Scholar
Steggle, Matthew, Laughing and Weeping in Early Modern Theatres, Studies in Performance and Early Modern Drama (Aldershot: Ashgate, 2007)Google Scholar
Steggle, Matthew, ‘Notes towards an Analysis of Early Modern Applause’, in Shakespearean Sensations: Experiencing Literature in Early Modern England, ed. Craik, Katharine A. and Pollard, Tanya (Cambridge: Cambridge University Press, 2013), 118–37Google Scholar
Stern, Tiffany, Documents of Performance in Early Modern England (Cambridge: Cambridge University Press, 2009)Google Scholar
Stern, Tiffany, ‘“Fill thy Purse with Money”: Shareholders, Shakespeare and Theatrical Finance’, Shakespeare Jahrbuch, 150 (2014), 65–78Google Scholar
Stern, Tiffany, Rehearsal from Shakespeare to Sheridan (Oxford: Oxford University Press, 2000)Google Scholar
Stern, Tiffany, ‘Shakespeare the Ballad-Monger?’, in Rethinking Theatrical Documents in Shakespeare’s England, ed. Stern, Tiffany (London: Bloomsbury Arden Shakespeare, 2020), 216–38Google Scholar
Stern, Tiffany, ‘Taking Part: Actors and Audience on the Stage at Blackfriars’, in Inside Shakespeare: Essays on the Blackfriars Stage, ed. Menzer, Paul (Selingsgrove: Susquehanna University Press, 2006), 35–52Google Scholar
Stern, Tiffany, ‘“This Wide and Universal Theatre”: The Theatre as Prop in Shakespeare’s Metadrama’, in Shakespeare’s Theatres and the Effects of Performance, ed. Karim-Cooper, Farah and Stern, Tiffany (London: Bloomsbury Arden Shakespeare, 2013), 11–32Google Scholar
Stern, Tiffany, ‘“You That Walk i’th Galleries”: Standing and Walking in the Galleries of the Globe Theatre’, Shakespeare Quarterly, 51.2 (2000), 211–16Google Scholar
Stern, Tiffany (ed.), Rethinking Theatrical Documents in Shakespeare’s England (London: Bloomsbury Arden Shakespeare, 2020)Google Scholar
Stevens, Andrea, Inventions of the Skin: The Painted Body in Early English Drama, 1400–1642 (Edinburgh: Edinburgh University Press, 2013)Google Scholar
Sugden, Edward H., A Topographical Dictionary to the Works of Shakespeare and His Fellow Dramatists (Manchester: Manchester University Press, 1925)Google Scholar
Syme, Holger Schott, ‘Marlowe in His Moment’, in Christopher Marlowe in Context, ed. Bartels, Emily C. and Smith, Emma (Cambridge: Cambridge University Press, 2012), 275–84Google Scholar
Syme, Holger Schott, ‘A Sharers’ Repertory’, in Rethinking Theatrical Documents in Shakespeare’s England, ed. Stern, Tiffany (London: Bloomsbury Arden Shakespeare, 2020), 33–51Google Scholar
Tavares, Elizabeth, ‘Matisse in the Playhouse’, Shakespeare Studies, 47 (2019), 127–33Google Scholar
Taylor, Gary, ‘Empirical Middleton: Macbeth, Adaptation, and Microauthorship’, Shakespeare Quarterly, 65.3 (2014), 239–72Google Scholar
Thomas, Miranda Fay, Shakespeare’s Body Language: Shaming Gestures and Gender Politics on the Renaissance Stage (London: Bloomsbury Arden Shakespeare, 2020)Google Scholar
Tomlinson, Sophie, Women on Stage in Stuart Drama (Cambridge: Cambridge University Press, 2009)Google Scholar
Tosh, Will, Playing Indoors: Staging Early Modern Drama in the Sam Wanamaker Playhouse (London: Bloomsbury Arden Shakespeare, 2018)Google Scholar
Tribble, Evelyn B., Cognition in the Globe: Attention and Memory in Shakespeare’s Theatre (Basingstoke: Palgrave Macmillan, 2011)Google Scholar
Tribble, Evelyn B., Early Modern Actors and Shakespeare’s Theatre: Thinking with the Body (London: Bloomsbury Arden Shakespeare, 2017)Google Scholar
Tribble, Evelyn B., ‘Sight and Spectacle’, in Shakespeare’s Theatres and the Effects of Performance, ed. Karim-Cooper, Farah and Stern, Tiffany (London: Bloomsbury Arden Shakespeare, 2013), 237–52Google Scholar
Vaughan, Virginia Mason, Performing Blackness on English Stages, 1500–1800 (Cambridge: Cambridge University Press, 2005)Google Scholar
Wagner, Sydnee, ‘New Directions: Towards a Racialized Tamburlaine’, in Tamburlaine: A Critical Reader, ed. McInnis, David (London: Bloomsbury Arden Shakespeare, 2020), 129–46Google Scholar
Waller, Gary, The Virgin Mary in Late Medieval and Early Modern English Literature and Popular Culture (Cambridge: Cambridge University Press, 2011)Google Scholar
Walsh, Brian, Unsettled Toleration: Religious Difference on the Shakespearean Stage (Oxford: Oxford University Press, 2016)Google Scholar
Weimann, Robert, Author’s Pen and Actor’s Voice: Playing and Writing in Shakespeare’s Time, ed. Higbee, Helen and West, William (Cambridge: Cambridge University Press, 2000)Google Scholar
Westfall, Suzanne, ‘“A Commonty a Christmas Gambold or a Tumbling Trick”: Household Theater’, in A New History of Early English Drama, ed. Cox, John D. and Kastan, David Scott (New York: Columbia University Press, 1997), 39–58Google Scholar
Whipday, Emma, ‘“Marrow Prying Neighbours”: Staging Domestic Space and Neighbourhood Surveillance in Arden of Faversham’, Cahiers Élisabéthains, 88.1 (October 2015), 95–110Google Scholar
Whitney, Charles, Early Responses to Renaissance Drama (Cambridge: Cambridge University Press, 2006)Google Scholar
Whitney, Charles, ‘Out of Service and in the Playhouse: Richard Norwood, Youth in Transition, and Early Response to Dr. Faustus’, Medieval and Renaissance Drama in England, 12 (1999), 166–89Google Scholar
Whitney, Charles, ‘“Usually in the Werking Daies”: Playgoing Journeymen, Apprentices, and Servants in the Guild Records, 1582–92’, Shakespeare Quarterly, 50 (1999), 433–58Google Scholar
Wickham, Glynne, Early English Stages, 1300–1660: Vol. 2, 1576–1660: Part 2 (Abingdon: Routledge, 2002; first published 1972)Google Scholar
Wiggins, Martin, ‘Marlowe’s Chronology and Canon’, in Christopher Marlowe in Context, ed. Bartels, Emily C. and Smith, Emma (Cambridge: Cambridge University Press, 2012), 7–14Google Scholar
Wiggins, Martin, with Richardson, Catherine, British Drama 1533–1642: A Catalogue, 11 vols. (Oxford: Oxford University Press, 2012–)Google Scholar
Williams, Deanne, ‘Chastity, Speech, and the Girl Masquer’, in Childhood, Education, and the Stage in Early Modern England, ed. Deanne Williams and Richard Preiss (Cambridge: Cambridge University Press, 2016), 162–83Google Scholar
Williams, Deanne, ‘Shakespeare and the Girl Masquer’, Shakespeare Studies, 44 (2016), 203–29Google Scholar
Williams, Deanne, Shakespeare and the Performance of Girlhood (Basingstoke: Palgrave Macmillan, 2014)Google Scholar
Williams, Deanne, and Preiss, Richard (eds.), Childhood, Education, and the Stage in Early Modern England (Cambridge: Cambridge University Press, 2016)Google Scholar
Wilson, Bronwen, and Yachnin, Paul (eds.), Making Publics in Early Modern Europe: People, Things, Forms of Knowledge (London: Routledge, 2010)Google Scholar
Wiltshire, Harvey, ‘“See Here in Bloody Lines”: Shakespeare, Blood, and the Circulation of the Body’, unpublished PhD thesis, University College London (2019)Google Scholar
Wood, Jennifer Linhart, Sounding Otherness in Early Modern Drama and Travel: Uncanny Vibrations in the English Archive (Basingstoke: Palgrave Macmillan, 2019)Google Scholar
Woods, Gillian, Shakespeare: Romeo and Juliet: A Reader’s Guide to Essential Criticism (Basingstoke: Palgrave Macmillan, 2013)Google Scholar
Woods, Gillian, Shakespeare’s Unreformed Fictions (Oxford: Oxford University Press, 2013)Google Scholar
Woods, Gillian, ‘Understanding Dumb Shows and Interpreting The White Devil’, in Stage Directions and Shakespearean Theatre, ed. Dustagheer, Sarah and Woods, Gillian (London: Bloomsbury Arden Shakespeare, 2018)Google Scholar
Worthen, W. B., Shakespeare and the Force of Modern Performance (Cambridge: Cambridge University Press, 2003)Google Scholar
Yachnin, Paul, ‘“The Perfection of Ten”: Populuxe Art and Artisanal Value in Troilus and Cressida’, Shakespeare Quarterly, 56.3 (2005), 306–27Google Scholar
Yachnin, Paul, and Eberhart, Marlene (eds.), Forms of Association: Making Publics in Early Modern Europe (Amherst: University of Massachusetts Press, 2015)Google Scholar
Yearling, Rebecca, Ben Jonson, John Marston and Early Modern Drama: Satire and the Audience (Basingstoke: Palgrave Macmillan, 2016)Google Scholar
Young, Alan R., ‘Prospero’s Table: The Name of Shakespeare’s Duke of Milan’, Shakespeare Quarterly, 30.3 (1979), 408–10Google Scholar