Book Reviews: Montaigne et Shakespeare: L'émergence de la conscience moderne, Tragic Conditions in Shakespeare: Disinheriting the Globe, Ben Jonson and Envy, the Rose and the Globe — Playhouses of Shakespeare's Bankside, Southwark. Excavations 1988–90, Locating the Queen's Men, 1583–1603: Material Practices and Conditions of Playing, Imagining the Audience in Early Modern Drama, 1558–1642

2011 ◽  
Vol 80 (1) ◽  
pp. 103-120
Author(s):  
Elizabeth Pentland ◽  
Marguerite A. Tassi ◽  
Ladan Niayesh ◽  
Muriel Cunin ◽  
Eleanor Collins ◽  
...  
Keyword(s):  
Early Modern ◽  
Ben Jonson ◽  
Early Modern Drama ◽  
Modern Drama ◽  
The Rose

scholarly journals Rebecca Yearling. Ben Jonson, John Marston and Early Modern Drama: Satire and the Audience. Basingstoke: Palgrave, 2016. Pp 223.

Early Theatre ◽  
2017 ◽  
Vol 20 (1) ◽  
Author(s):  
José A Pérez Díez
Keyword(s):  
Early Modern ◽  
Ben Jonson ◽  
Early Modern Drama ◽  
John Marston ◽  
Modern Drama

This review considers Ben Jonson, John Marston and Early Modern Drama: Satire and the Audience.

scholarly journals Editorial

Early Theatre ◽  
2019 ◽  
Vol 22 (1) ◽  
Author(s):  
Erin E. Kelly ◽  
Melinda J. Gough ◽  
Helen Ostovich ◽  
Sarah Johnson
Keyword(s):  
Early Modern ◽  
Early Modern Drama ◽  
Modern Drama ◽  
Scholarly Journals ◽  
Review Section

The editorial for issue 22.1 acknowledges that Early Theatre has received a SSHRC Aid to Scholarly Journals grant; announces an Issues in Review section on disability and early modern drama planned for issue 22.2; thanks Peter Kirwan for serving as our Book Reviews editor since 2013; and declares that Georgina Lucas will become our new Book Reviews editor. 

Listening for Theatrical Form in Early Modern England

2016 ◽  
Author(s):  
Allison K. Deutermann
Keyword(s):  
Early Modern ◽  
Ben Jonson ◽  
Early Modern England ◽  
Early Modern Drama ◽  
Modern Drama ◽  
Thomas Kyd ◽  
Revenge Tragedy ◽  
City Comedy ◽  
Commercial Theatre ◽  
Revenge Tragedies

Early modern drama was in fundamental ways an aural art form. How plays should sound and how they should be heard were questions vital to the formal development of early modern drama, and particularly to two of its most popular genres: revenge tragedy and city comedy. Simply put, theatregoers were taught to hear these plays differently. Revenge tragedies by William Shakespeare and Thomas Kyd imagine sound stabbing, piercing and slicing into listeners' bodies on and off the stage; while comedies by Ben Jonson and John Marston imagine it being sampled selectively and according to taste. Listening for Theatrical Form in Early Modern England traces the interconnected development of these two genres and auditory modes over six decades of commercial theatre history, combining surveys of the theatrical marketplace with focused attention to specific plays and to the non-dramatic literature that gives this interest in audition texture: anatomy texts, sermons, music treatises and manuals on rhetoric and poetics.

London Theatrical Culture, 1560–1590

2021 ◽  
Author(s):  
Andy Kesson ◽  
Lucy Munro ◽  
Callan Davies
Keyword(s):  
Early Modern ◽  
Significant Proportion ◽  
Early Modern Drama ◽  
Modern Drama ◽  
Male And Female ◽  
And Performance ◽  
Historical Moment ◽  
The Rose ◽  
Theatrical Culture ◽  
Indoor Spaces

Early modern drama was a product of the new theatrical spaces that began to open from the 1560s onward, multiple venues in and just outside London that played to a significant proportion of Londoners on most afternoons. Revisiting the evidence for this historical moment offers the opportunity to look afresh at the playhouses, plays, and playmakers that drove this new theatrical culture. These three terms include the inns and indoor spaces that regularly hosted plays, alongside the now more familiar outdoor, amphitheatrical venues the Theatre and the Rose; plays onstage, plays in print, and plays that are now lost; and the writers, actors, company managers, and male and female playhouse builders and investors who made the creation and performance of those plays possible. Conventional histories of this period’s theaters have tended to concentrate on the opening of the Theatre in 1576 as the first such playhouse. Scholarship of the late 20th and early 21st centuries shows that this event was not the initiating formative act it has come to seem, and emphasizes instead the multiple decades and kinds of playing space that need to be attended to in understanding the earliest years of the playhouses. Multiple kinds of playing company, too, operated in this period, in particular companies made up of predominantly adult male performers, with boys playing female roles, and companies composed entirely of boy performers.

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