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Informationen zum Autor Kim Gilchrist is a lecturer in the School of English at Cardiff University, UK, and an Honorary Research fellow at the University of Roehampton, UK. Prior ton joining Cardiff University, he taught on Shakespeare and early modern literature at Roehampton, Shakespeare’s Globe Theatre and Central School of Speech and Drama, UK. Douglas Bruster is Professor of English at The University of Texas at Austin, USA. He is the author of Drama and the Market in the Age of Shakespeare ; Quoting Shakespeare ; Shakespeare and the Question of Culture ; and, with Robert Weimann, Prologues to Shakespeare's Theatre . Lisa Hopkins is Professor of English at University of Sheffield Hallam. She has published numerous works on Shakespeare including her most recent work, Beginning Shakespeare (2005) and has written on film adaptations including Screening the Gothic . She is the Senior Editor of the online journal, Early Modern Literary Studies. Vorwort The first monograph on the early modern performance of pre-Roman British history, setting key works such as Gorboduc and King Lear within a popular and ideologically charged theatrical tradition reaching from the reign of Henry VII to that of Charles I. Zusammenfassung Staging Britain's Past is the first study of the early modern performance of Britain's pre-Roman history. The mythic history of the founding of Britain by the Trojan exile Brute and the subsequent reign of his descendants was performed through texts such as Norton and Sackville’s Gorboduc , Shakespeare’s King Lear and Cymbeline, as well as civic pageants, court masques and royal entries such as Elizabeth I’s 1578 entry to Norwich. Gilchrist argues for the power of performed history to shape early modern conceptions of the past, ancestry, and national destiny, and demonstrates how the erosion of the Brutan histories marks a transformation in English self-understanding and identity.When published in 1608, Shakespeare’s King Lear claimed to be a “True Chronicle History”. Lear was said to have ruled Britain centuries before the Romans, a descendant of the mighty Trojan Brute who had conquered Britain and slaughtered its barbaric giants. But this was fake history. Shakespeare’s contemporaries were discovering that Brute and his descendants, once widely believed as proof of glorious ancient origins, were a mischievous medieval invention. Offering a comprehensive account of the extraordinary theatrical tradition that emerged from these Brutan histories and the reasons for that tradition’s disappearance, this study gathers all known evidence of the plays, pageants and masques portraying Britain’s ancient rulers. Staging Britain's Past reveals how the loss of England’s Trojan origins is reflected in plays and performances from Gorboduc ’s powerful invocation of history to Cymbeline’ s elegiac erosion of all notions of historical truth. Inhaltsverzeichnis List of illustrationsAcknowledgementsNote on textsIntroductionChapter One: Geoffrey of Monmouth and Etiological ErosionChapter Two: Staging Brutan Origins (1486–1600)Chapter Three: Reading Brutan Erosion (1604–1608)Chapter Four: The Diminution of Brutan Time (1610–1637)ConclusionsWorks CitedIndex...
