Book contents
- The Cambridge Guide to the Worlds of Shakespeare
- Frontispiece
- Frontispiece
- The Cambridge Guide to the Worlds of Shakespeare
- Worlds of Shakespeare
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Abbreviations
- Part I Mapping Shakespeare’s World
- Part II Theater
- Introduction
- 10 European Theater Scene
- 11 Players and the Playing Business
- 12 Playhouses
- 13 Audiences and Playgoing
- 14 Properties
- 15 Costumes
- 16 Cosmetics
- 17 Playwriting
- 18 Production Processes
- 19 Stage Directions and the Stage Space
- 20 Music
- 21 The Prehistory of Shakespearean Theater
- 22 Entertainments: Baiting, Dances, Contests
- 23 Court Masques
- Part III Language
- Part IV Science and Technology
- Part V Printing, Publishing, Textuality
- Part VI Visual Arts
- Part VII Popular Culture
- Part VIII High Culture
- Part IX England, 1560–1650
- Part X Religion
- Part XI Medicine
- Part XII The Historical William Shakespeare
- Part XIII Shakespeare’s Fellows
- Part XIV Shakespeare’s Early Reception (to 1660)
- Part XV International Encounters
- Part XVI Making the Scene
- Part XVII Shakespeare as Cultural Icon
- Part XVIII Shakespeare and Popular Culture
- Part XIX Translation
- Part XX Changing Technologies of Stage Performance
- Part XXI Audiences
- Part XXII Production History
- Part XXIII Printing and Reception History
- Part XXIV Shakespeare and the Book
- Part XXV Shakespeare and the Critics
- Part XXVI Shakespeare and the Performing Arts
- Part XXVII Shakespeare and the Visual Arts
- Part XXVIII Shakespeare and Media History
- Index
- References
16 - Cosmetics
from Part II - Theater
Published online by Cambridge University Press: 17 August 2019
Edited by
Edited in association with
Book contents
- The Cambridge Guide to the Worlds of Shakespeare
- Frontispiece
- Frontispiece
- The Cambridge Guide to the Worlds of Shakespeare
- Worlds of Shakespeare
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Abbreviations
- Part I Mapping Shakespeare’s World
- Part II Theater
- Introduction
- 10 European Theater Scene
- 11 Players and the Playing Business
- 12 Playhouses
- 13 Audiences and Playgoing
- 14 Properties
- 15 Costumes
- 16 Cosmetics
- 17 Playwriting
- 18 Production Processes
- 19 Stage Directions and the Stage Space
- 20 Music
- 21 The Prehistory of Shakespearean Theater
- 22 Entertainments: Baiting, Dances, Contests
- 23 Court Masques
- Part III Language
- Part IV Science and Technology
- Part V Printing, Publishing, Textuality
- Part VI Visual Arts
- Part VII Popular Culture
- Part VIII High Culture
- Part IX England, 1560–1650
- Part X Religion
- Part XI Medicine
- Part XII The Historical William Shakespeare
- Part XIII Shakespeare’s Fellows
- Part XIV Shakespeare’s Early Reception (to 1660)
- Part XV International Encounters
- Part XVI Making the Scene
- Part XVII Shakespeare as Cultural Icon
- Part XVIII Shakespeare and Popular Culture
- Part XIX Translation
- Part XX Changing Technologies of Stage Performance
- Part XXI Audiences
- Part XXII Production History
- Part XXIII Printing and Reception History
- Part XXIV Shakespeare and the Book
- Part XXV Shakespeare and the Critics
- Part XXVI Shakespeare and the Performing Arts
- Part XXVII Shakespeare and the Visual Arts
- Part XXVIII Shakespeare and Media History
- Index
- References
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- The Cambridge Guide to the Worlds of Shakespeare , pp. 113 - 117Publisher: Cambridge University PressPrint publication year: 2016
References
Sources cited
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Jonson, Ben. The Devil Is an Ass. Ed. Happé, Peter. The Revels Plays. Manchester: Manchester UP, 1996.Google Scholar
Lomazzo, Giovanni Paolo. A Tracte Containing the Artes of curious Paintinge, Carvinge & Building. Trans. Haydocke, Richard. London: 1598.Google Scholar
Pollard, Tanya. Drugs and Theater in Early Modern England. Oxford: Oxford UP, 2005.CrossRefGoogle Scholar
Tuke, Thomas. A Treatise Against Paint[i]ng and Tinctvring of Men and Women. London: 1616.Google Scholar
Vaughan, Virginia Mason. “Blacking-Up at the Blackfriars Theater.” Inside Shakespeare: Essays on the Blackfriars Stage. Selinsgrove: Susquehanna UP, 2006. 123–31.Google Scholar
Webster, John. The Duchess of Malfi. The Duchess of Malfi and Other Plays. Ed. Weis, René. Oxford English Drama. Oxford: Oxford UP, 1996.Google Scholar
Further reading
Callaghan, Dympna. Shakespeare without Women: Representing Gender and Race on the Renaissance Stage. Accents on Shakespeare. London: Routledge, 2000.Google Scholar
Davis, Natalie Zemon, and Farge, Arlette, eds. A History of Women: Renaissance and Enlightenment Paradoxes. Cambridge: Harvard UP, 1993.Google Scholar
Dolan, Frances E. “Taking the Pencil Out of God’s Hand: Art, Nature, and the Face-Painting Debate in Early Modern England.” Publications of the Modern Language Association of America 108 (1993): 224–39.CrossRefGoogle Scholar
Drew-Bear, Annette. Painted Faces on the Renaissance Stage: The Moral Significance of Face-Painting Conventions. Lewisburg: Bucknell UP, 1994.Google Scholar
Garner, Shirley Nelson. “‘Let Her Paint an Inch Thick’: Painted Ladies in Renaissance Drama and Society.” Renaissance Drama 20 (1989): 121–38.CrossRefGoogle Scholar
Hall, Kim F. Things of Darkness: Economies of Race and Gender in Early Modern England. Ithaca: Cornell UP, 1995.Google Scholar
Karim-Cooper, Farah. Cosmetics in Shakespearean and Renaissance Drama. Edinburgh: Edinburgh UP, 2006.CrossRefGoogle Scholar
Kelso, Ruth. Doctrine for the Lady of the Renaissance. Chicago: U of Illinois P, 1956.Google Scholar
Phillipy, Patricia. Painting Women: Cosmetics, Canvases & Early Modern Culture. Baltimore: Johns Hopkins UP, 2006.Google Scholar
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