Alvin Snider. Origin and Authority in Seventeenth-Century England: Bacon, Milton, Butler. Toronto: University of Toronto Press, 1994. ix + 286 pp. $65.

1998 ◽  
Vol 51 (1) ◽  
pp. 312-314
Author(s):  
Sara van den Berg
Keyword(s):  
Seventeenth Century ◽  
University Of Toronto

Italian Renaissance Plays in the University of Toronto Library: Supplement III

1974 ◽  
Vol 27 (4) ◽  
pp. 512-532
Author(s):  
Beatrice Corrigan
Keyword(s):  
Seventeenth Century ◽  
Italian Renaissance ◽  
Valuable Source ◽  
Passion Plays ◽  
University Of Toronto ◽  
The Third ◽  
Wide Range ◽  
The University

The Editorial Board of Renaissance Quarterly is most kindly continuing its tradition in Renaissance News by allowing me to publish the third supplement to the Catalogue of Italian Plays 1500-1700 in theUniversity of Toronto Library (University of Toronto Press, 1961). Previous supplements appeared in RN16 (1963), 298-307, and 19 (1966), 219-228. The plays listed below illustrate a wide range of theatrical tastes, from Latin and Italian passion plays, medieval in tradition, to the later dominant vogue for musical dramas. In editions of the latter it became customary early in the seventeenth century to record architects, costumers, and performers, so that the printed plays are a valuable source for stage history. Scenery for four of these dramas was designed by Ferdinando and Francesco Galli di Bibbiena, then at the outset of their careers.

Dissimulation in the Commedia dell’Arte Scenarios of Flaminio Scala, 1611

2015 ◽  
Vol 31 (4) ◽  
pp. 312-328
Author(s):  
Natalie Crohn Schmitt
Keyword(s):  
Seventeenth Century ◽  
Early Modern ◽  
Commedia Dell'arte ◽  
John Cage ◽  
Early Modern Europe ◽  
Considerable Part ◽  
The Unconscious ◽  
University Of Illinois ◽  
Ways Of Coping ◽  
University Of Toronto

Commedia dell’arte was the most influential and widespread theatre movement in sixteenth- and early seventeenth-century Europe. A considerable part of its popularity can be accounted for by its comic representations of stressful occurrences within everyday life in early modern Europe, including its representations of the period’s widespread dissimulation. Among other things, the theatricality of commedia dell’arte provided a way for the audience briefly to dissociate itself from and to fantasize about ways of coping with dissimulation. A number of characteristics of commedia dell’arte, including disguise, lying,tricks, spying and gossip, and portrayals of honour, previously seen as separate, cohere in the concept of dissimulation. Natalie Crohn Schmitt is Professor of Theatre and of English, Emerita, University of Illinois at Chicago. She recently published Befriending the Commedia dell’Arte of Flaminio Scala: the Comic Scenarios (Toronto: University of Toronto Press, 2014). In New Theatre Quarterly she has published ‘Stanislavski, Creativity, and the Unconscious’ (Vol. II, No. 8); ‘Theorizing about Performance: Why Now’ (Vol. VI, No. 23);‘ “So Many Things Can Go Together”: the Theatricality of John Cage’ (Vol. XI, No. 41); and ‘The Style of Commedia dell’Arte Acting’ (Vol. XXVIII, No. 4).

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