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
17 - Playwriting
from Part II - Theater
Published online by Cambridge University Press: 17 August 2019
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Edited by
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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. 117 - 122Publisher: Cambridge University PressPrint publication year: 2016
References
Sources cited
Bentley, Gerald Eades. The Profession of Dramatist in Shakespeare’s Time, 1590–1642. Princeton: Princeton UP, 1971.Google Scholar
Davidson, Clifford. “Saint Plays and Pageants of Medieval Britain.” Early Drama, Art, and Music Newsletter 22 (1999): 11–37.Google Scholar
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Greenblatt, Stephen. Will in the World: How Shakespeare Became Shakespeare. New York: Norton, 2004.Google Scholar
Gurr, Andrew. The Shakespeare Stage, 1574–1642. 4th ed. Cambridge: Cambridge University Press, 2009.CrossRefGoogle Scholar
Knutson, Roslyn. Playing Companies and Commerce in Shakespeare’s Time. Cambridge: Cambridge University Press, 2001.Google Scholar
Nicholl, Charles. The Reckoning: The Murder of Christopher Marlowe. New York: Harcourt Brace, 1992.Google Scholar
Rasmussen, Eric. “The Revision of Scripts.” A New History of Early English Drama. Ed. Cox, John D. and Kastan, David Scott. New York: Columbia UP, 1997. 441–60.Google Scholar
Vickers, Brian. “Incomplete Shakespeare: Or, Denying Coauthorship in 1 Henry VI.” Shakespeare Quarterly 58 (2007): 311–52.Google Scholar
Further reading
Barber, C. L. Creating Elizabethan Tragedy: The Theater of Kyd and Marlowe. Chicago: U of Chicago P, 1988.Google Scholar
Braunmuller, A. R., and Hattaway, Michael, eds. The Cambridge Companion to English Renaissance Drama. Cambridge: Cambridge University Press, 1990.Google Scholar
Brooks, Douglas. From Playhouse to Printing House: Drama and Authorship in Early Modern England. Cambridge: Cambridge University Press, 2000.Google Scholar
Cox, John D., and Kastan, David Scott, eds. A New History of Early English Drama. New York: Columbia UP, 1997.Google Scholar
Erne, Lukas. Shakespeare as Literary Dramatist. Cambridge: Cambridge University Press, 2003.Google Scholar
Farley-Hills, David. Shakespeare and the Rival Playwrights, 1600–1606. London: Routledge, 1990.CrossRefGoogle Scholar
Shapiro, James. Rival Playwrights: Marlowe, Jonson, Shakespeare. New York: Columbia UP, 1991.Google Scholar
White, Paul. Theatre and Reformation: Protestantism, Patronage and Playing in Tudor England. Cambridge: Cambridge University Press, 1993.Google Scholar
Wickham, Glynne. Early English Stages, 1300 to 1660. 3 vols. London: Routledge, 1959–72.Google Scholar