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Robert Armin and Shakespeare's Performed Songs
After Robert Armin joined the Chamberlain's Men, singing in Shakespeare's dramas catapulted from 1.25 songs and 9.95 lines of singing per play to 3.44 songs and 29.75 lines of singing, a virtually unnoticed phenomenon. In addition, many of the songs became seemingly improvisatory—similar to Armin's personal style as an author and solo comedian. In order to study Armin's collaborative impact, this interdisciplinary book investigates the songs that have Renaissance music that could have been heard on Shakespeare's stage. They occur in some of Shakespeare's most famous plays, including Much Ado About Nothing, Twelfth Night, Hamlet, and The Tempest. In fact, Shakespeare's plays, as we have the...
The Matter of Song in Early Modern England
This volume treats early modern song as a musical and embodied practice and considers the implications of reading song not just as lyric text, but as a musical phenomenon that is the product of the singing body. It draws on a variety of genres, from theatre to psalm translations, sonnets and lyrics, and household drama to courtly masques.
Music and Gender in English Renaissance Drama
This book offers a survey of how female and male characters in English Renaissance theatre participated and interacted in musical activities, both inside and outside the contemporary societal decorum. Wong’s analysis broadens our understanding of the general theatrical representation of music, or musical dramaturgy, and complicates the current discussion of musical portrayal and construction of gender during this period. Wong discusses dramaturgical meanings of music and its association with gender, love, and erotomania in Renaissance plays. The negotiation between the dichotomous qualities of the heavenly and the demonic finds extensive application in recent studies of music in early mode...
The Duchess of Malfi
The Duchess of Malfi is amacabre, tragic play which is often performed and studied at A leveland university. This Arden edition brings all the scholarship andcomprehensive analysis associated with the series and offers readers adeeper understanding of the play than competing editions.
Documents of Performance in Early Modern England
As well as 'play-makers' and 'poets', playwrights of the early modern period were known as 'play-patchers' because their texts were made from separate documents. This book is the first to consider all the papers created by authors and theatres by the time of the opening performance, recovering types of script not previously known to have existed. With chapters on plot-scenarios, arguments, playbills, prologues and epilogues, songs, staged scrolls, backstage-plots and parts, it shows how textually distinct production was from any single unified book. And, as performance documents were easily lost, relegated or reused, the story of a play's patchy creation also becomes the story of its co-authorship, cuts, revisions and additions. Using a large body of fresh evidence, Documents of Performance in Early Modern England brings a wholly new reading to printed and manuscript playbooks of the Shakespearean period, redefining what a play, and what a playwright, actually is.
The Oxford Handbook of Shakespeare and Music
Engages with musical practice in a wide range of countries, Offers a cutting-edge resource for Shakespeare scholars and musicians alike, Sheds light on a crucial and fascinating aspect of Shakespeare studies Book jacket.
The Cambridge Companion to Shakespeare and Contemporary Dramatists
While Shakespeare's popularity has continued to grow, so has the attention paid to the work of his contemporaries. The contributors to this Companion introduce the distinctive drama of these playwrights, from the court comedies of John Lyly to the works of Richard Brome in the Caroline era. With chapters on a wide range of familiar and lesser-known dramatists, including Thomas Kyd, Christopher Marlowe, Ben Jonson, John Webster, Thomas Middleton and John Ford, this book devotes particular attention to their personal and professional relationships, occupational rivalries and collaborations. Overturning the popular misconception that Shakespeare wrote in isolation, it offers a new perspective on the most impressive body of drama in the history of the English stage.
The Cambridge Companion to Shakespeare and Contemporary Dramatists
This Companion is devoted to the life and works of Shakespeare and contemporary playwrights in early modern London.
Robert Armin and Shakespeare's Performed Songs
After Robert Armin joined the Chamberlain's Men, singing in Shakespeare's dramas catapulted from 1.25 songs and 9.95 lines of singing per play to 3.44 songs and 29.75 lines of singing, a virtually unnoticed phenomenon. In addition, many of the songs became seemingly improvisatory—similar to Armin's personal style as an author and solo comedian. In order to study Armin's collaborative impact, this interdisciplinary book investigates the songs that have Renaissance music that could have been heard on Shakespeare's stage. They occur in some of Shakespeare's most famous plays, including Much Ado About Nothing, Twelfth Night, Hamlet, and The Tempest. In fact, Shakespeare's plays, as we have the...
A Journal of the Plague Year
Being observations or memorials of the most remarkable occurrences as well public as private which happened in london during the last great visitation in 1665. written by a citizen who continuedall the while in london. never made public before...
