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Zusatztext For anyone wishing to gain a solid understanding of the work being undertaken in the field, or indeed to join it, this is a formidable book which both demands and repays attention... In its range and length it is a valuable reference work; in its minutiae, it is replete with scholarly insights. Informationen zum Autor Richard Dutton has been Humanities Distinguished Professor of English at Ohio State University since 2003. Previously he was at Lancaster University in England for thirty years. Working on the borders of literary criticism and theatre history, he is best known for his work on early modern censorship, including Mastering the Revels: the Regulation and Censorship of English Renaissance Drama (1991) and Licensing, Censorship and Authorship in Early Modern England: Buggeswords (2000). Ben Jonson, 'Volpone' and the Gunpowder Plot (2008) is his third monograph on Jonson. His scholarly editing includes Jonson's Epicenehas an NEH Fellowship in 2008/9 to work on Shakespeare's revision of his plays for court performance. Klappentext An international team of scholars examines the theatrical world in which Shakespeare worked, tracing the social, political, and patronage pressures under which actors operated. They also explore the practicalities of playing: acquiring scripts, theatres, rehearsing, lighting, music, props, boy actors, and the role of women in an 'all-male' world. Zusammenfassung An international team of scholars examines the theatrical world in which Shakespeare worked, tracing the social, political, and patronage pressures under which actors operated. They also explore the practicalities of playing: acquiring scripts, theatres, rehearsing, lighting, music, props, boy actors, and the role of women in an 'all-male' world. Inhaltsverzeichnis Introduction: Early Modern Theatre History: where we are now, how we got here, where we go next Section A: Theatre Companies 1: W.R. Streitberger: Adult Playing Companies to 1583 2: Sally-Beth MacLean: Adult Playing Companies, 1583 to 1593 3: Roslyn Knutson: Adult Playing Companies, 1593 to 1603 4: Tom Rutter: Adult Playing Companies 1603 to 1613 5: James Marino: Adult Playing Companies 1613 to 1625 6: Martin Butler: Adult playing companies 1625 to 1642 7: Michael Shapiro: Early (pre-1590) Boy Companies and their Acting Venues 8: Mary Bly: The boy companies 1599-1613 Section B: London Playhouses 9: David Kathman: Inn-yard Playhouses 10: Gabriel Egan: The Theatre in Shoreditch, 1576-1599 11: Andrew Gurr: Why the Globe is Famous 12: Ralph Alan Cohen: The Most Convenient Place: The Second Blackfriars Theatre and Its Appeal 13: Mark Bayer: The Red Bull Playhouse 14: Frances Teague: The Phoenix and the Cockpit-in-Court Playhouses Section C: Other Playing Spaces 15: Suzanne Westfall: 'He who pays the piper calls the tune': Household Entertainments 16: Alan H. Nelson: The Universities and the Inns of Court 17: Peter Greenfield: Touring 18: . John H. Astington: Court theatre 19: Anne Lancashire: London Street Theatre Section D: Social Practices 20: Alan Somerset: Not Just Sir Oliver Owlet: From Patrons to 'Patronage' of Early Modern Theatre 21: Richard Dutton: The Court, The Master of the Revels and The Players 22: Susan Cerasano: Theatre Entrepreneurs and Theatrical Economics 23: Ian W. Archer: The City of London and the Theatre 24: David Kathman: Players, Livery Companies, and Apprentices 25: Kathleen E. McLuskie: Materiality and the Market: the case of the Lady Elizabeth's Men. The Lady Elizabeth's Men and the challenge of theatre history 26: Heather Hirschfeld: 'For the author's credit': Issues of Authorship in English Renaissance Drama 27: Natasha Korda: Women in the Theatre Section E: Evidence of Theatrical Practices 28: Jacalyn Royce: Early Modern Naturalistic Acting: The Role of the Glob...
