La théorie et la pratique d'un éducateur élisabéthain: Richard Mulcaster, c. 1531-1611

2005 ◽  
Vol 36 (4) ◽  
pp. 1214
Author(s):  
Laurent Berec ◽  
Jacqueline Cousin-Desjobert
Keyword(s):  
Author(s):  
Neil Rhodes

The first chapter establishes the double sense of the word ‘common’ as something universal or shared and something base. It defines the terms ‘common’ and ‘commonwealth’ against the related terms ‘public’ and ‘republic’ in the work of Thomas Starkey, Thomas Elyot, Thomas Smith, and Richard Mulcaster. It also explores the significance of the term ‘commonwealth’ in sixteenth-century thinking in order to outline the relationship between literature and society in the period. The chapter ends by pointing to the central role of the common in the relationship between humanism and Protestantism and in the question ‘why is the Renaissance in England so late?’, both of which the rest of the book will address.


1972 ◽  
Vol 13 (1) ◽  
pp. 28-41 ◽  
Author(s):  
Richard L. DeMolen

During the early years of Elizabeth's reign, the theatre was dominated by boy companies:Out of seventy-eight rewards for Court performances between 1558 and 1576, twenty-one went to the Paul's boys, fifteen to the royal chapels, and ten to schoolboys, making a total of forty-six, as against only thirty-two paid to adult companies.


1859 ◽  
Vol s2-VIII (193) ◽  
pp. 219-219
Author(s):  
C. J. Robinson
Keyword(s):  

2003 ◽  
Vol 39 (1) ◽  
pp. 113-117
Author(s):  
Jacqueline Cousin-Desjobert (book author) ◽  
Richard Hillman (review author)
Keyword(s):  

1897 ◽  
Vol 12 (3) ◽  
pp. 65
Author(s):  
Leo Wiener
Keyword(s):  

1898 ◽  
Vol 13 (6) ◽  
pp. 196
Author(s):  
Karl Luick
Keyword(s):  

Early Theatre ◽  
2021 ◽  
Vol 24 (2) ◽  
Author(s):  
Harry R. McCarthy

This article reconsiders the pedagogical theories of leading Elizabethan teacher Richard Mulcaster in the light of early modern boy company repertories. Focusing on Mulcaster’s teachings relating to the skilled, moving body, the article traces his connections to the Children of Paul’s and the Children of the Blackfriars to suggest that the boy company stage became a site that explored boys’ physical skills. The early modern boy company repertories, the article ultimately suggests, positioned their young actors as ‘Mr Mulcaster’s scholars’. 


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