This series provides a forum for monographs and essay collections that investigate the material culture, broadly conceived, of theatre and performance in England from the late Tudor to the pre-Restoration Stuart periods (c. 1550–1650). The editors invite proposals for book-length studies engaging in the material vitality of the dramatic text, political culture, theatre and performance history, theatrical design, performance spaces, gendering court entertainments, child- and adult-actors, music, dance, and audiences in London and on tour. We are also interested in the discursive production of gender, sex, and race in early modern England in relation to material historical, social, cultural, and political structures; changes to and effects of law; monarchy and the republic in dramatic texts; theatre and performance, including performance spaces that are not in theatres. Further topics might include the production and consumption of things and ideas; costumes, props, theatre records and accounts, gendering of spaces and geographies (court, tavern, street, and household, rural or urban), cross-dressing, military or naval excursions, gendered pastimes, games, behaviors, rituals, fashions, and encounters with the exotic, the non-European, the disabled, and the demonic and their reflection in text and performance.
Keywords: Drama, theatre, performance, material culture, gender, Shakespeare and his contemporaries.
Geographical Scope: United Kingdom
Chronological Scope: c. 1550-1650
Series editor and editorial board
To submit a proposal or completed manuscript to be considered for publication by Medieval Institute Publications or to learn more about the series, please contact Tyler Cloherty, acquisitions editor for the series
The series' Editorial Board comprises:
- Cristina León Alfar, Hunter College, CUNY, USA, Series Editor
- Helen Ostovich, McMaster University, Canada, Series Editor
By Lisa Hopkins
The Trojan prince Aeneas was supposedly the ancestor of the Tudors; given the English connection, no story was more interesting to Shakespeare and his contemporaries than that of Troy. This book explores the wide range of allusions to Greece and Troy in plays by Shakespeare, Marlowe, Chettle, Ford and Beaumont and Fletcher, looking not only at plays actually set in Greece or Troy but also those which draw on characters and motifs from Greek mythology and the Trojan War.
ISBN 978-1-50151-858-4 (clothbound) © 2019
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By Ursula A. Potter
This study provides an accessible, informative and entertaining introduction to women’s sexual health as presented on the early modern stage, and how dramatists coded for it. Beginning with the rise of green sickness (the disease of virgins) from its earliest reference in drama in the 1560s, Ursula Potter traces a continuing fascination with the womb by dramatists through to the oxymoron of the chaste sex debate in the 1640s. She illuminates how playwrights both satirized and perpetuated the notion of the womb’s insatiable appetite.
ISBN 978-1-58044-370-8 (clothbound) © 2019
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By Theodora A. Jankowski
Theodora Jankowski looks at both the light and the dark side of the Elizabeth character in each of John Lyly's court plays, while at the same time considering how that allegory works in terms of the various issues Lyly debates within the plays. She demonstrates how Lyly, while praising the queen and accepting her beneficence, simultaneously manages to present his audiences with the "dark queen," the opposite side of the positive image of the Queen of England.
ISBN 978-1-58044-333-3 (clothbound), 978-1-58044-334-0 (PDF) © 2018
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Forthcoming in this Series
Edited by Domenico Lovascio
This volume explores with an unprecedented thoroughness and variety of perspectives the diverse issues connected to female identities in the early modern English plays set in ancient Rome. Roman Women in Shakespeare and His Contemporaries puts Shakespeare’s Roman world in dialogue with a number of Roman plays by writers as diverse as Matthew Gwinne, Ben Jonson, John Fletcher, Philip Massinger, Thomas May, and Nathanael Richards. Thus, the collection seeks to challenge conventional wisdom about the plays under scrutiny by specifically focusing on their female rather than male characters, as well as sharpening our awareness of the fact that the Roman world on the early modern stage cannot be straightforwardly and simplistically equated with Shakespeare’s.
Convents and Novices in Early Modern English Dramatic Works
By Vanessa L. Rapatz
This study examines how the English came to terms with the meanings of convents and novices even after they disappeared from the physical and social landscape. In five chapters, it traces convents and novices across a range of dramatic texts by such writers as William Shakespeare, Christopher Marlowe, Margaret Cavendish, and Aphra Behn. Convents, novices, and problem plays emerge as parallel sites of ambiguity that reflect the social, political, and religious uncertainties England faced after the Reformation.
Dismemberment in the Medieval and Early Modern English Imaginary: The Performance of Difference
By Frederika Elizabeth Bain
The medieval and early modern English imaginary encompasses a broad range of negative and positive dismemberments, from the castration anxieties of Turk plays to the elite practices of distributive burial. This study argues that representations and instances of bodily fragmentation illustrated and performed acts of exclusion and inclusion, detaching not only limbs from bodies but individuals from identity groups. Within this context, it examines questions of legitimate and illegitimate violence, showing that such distinctions largely rested upon particular acts’ assumed symbolic meanings.
Redefining Gender in Early Modern English Drama: Power, Sexualities, and Ideologies in Text and Performance
Edited by Laura Martínez-García and Raquel Serrano González
This volume studies the concept of theatricality in early modern English drama (1606-1705) through the analysis of an array of cultural products, including dramatic texts, dedications, autobiographies, adaptations and performative practices (on and off stage). Special attention is paid to the permeability of the boundaries between theatre and (social) life, which are viewed as mutually influencing spaces where normative gender can be reinforced, naturalised, subverted and/or contested. The contributors explore relations of power through the analysis of male and female sexualities as written and performed by both men and women, to determine to what extent the gendered power hierarchy is destabilised or legitimised.
On the Edge in Early Modern English Drama
Edited by Aidan Norrie and Mark Houlahan
This collection examines some of the people, places, and plays at the edge of early modern English drama. Engaging with topics such as child actors, alterity, sexuality, foreignness, and locality, this volume demonstrates the people and concepts long seen as on the edge of early modern English drama made vital contributions both within the fictive worlds of early modern plays, and without, in the real worlds of playmakers, theatres, and audiences.
Thomas Middleton and the Plural Politics of Jacobean Drama
By Mark Benjamin Kaethler
This book represents the first sustained study of Middleton's dramatic works as responses to James I's governance. By examining the double political vision that Middleton and his collaborators' allegory and irony establishes, the work offers an alternative to the popular view of the decider in political theology. The author argues that Middleton's presentation of plural and competing politics in his topical dramatic works serves to counter the image James cultivated of himself through political theology. Drawing upon traditional political allegory as well as popular tracts that emerged during the Jacobean period, such as libels and news, Kaethler examines Middleton's political works ranging from Middleton’s first extant play The Phoenix (1604) to his scandalous finale A Game at Chess (1624).
Mourning Men in Shakespeare's England
By Andrew D. McCarthy
Exploring plays by Shakespeare and his contemporaries, Mourning Men in Shakespeare's England argues that early modern playwrights deployed the classical lament so to consider the profound cultural trauma of the Reformation, but also complicate early understandings of masculinity.