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UK Directory of Executive Recruitment
The UK Directory of Executive Recruitment is a comprehensive source of information on the UK's executive search and selection consultancies.
Medieval and Renaissance Drama in England
Contains essays and studies by critics and cultural historians from both hemispheres as well as substantial reviews of books and essays dealing with medieval and early modern English drama. This work addressed topics ranging from local drama in the Shrewsbury borough records to the Cornish Mermaid in the Ordinalia.
Monsters of Our Own Making
In Monsters of Our Own Making, Marina Warner explores the dark realm where ogres devour children and bogeymen haunt the night. She considers the enduring presence and popularity of male figures of terror, establishing their origins in mythology and their current relation to ideas about sexuality and power, youth and age.
The Myth of Sisyphus
"The myth of Sisyphus symbolizes the archetypal process of becoming without the consolation of absolute achievement. It is both a poignant reflection of the human condition and a prominent framing text for classical, medieval, and renaissance theories of human perfectibility. In this unique reading of the myth through classical philosophies, pagan and Christian religious doctrines, and medieval and renaissance literature, we see Sisyphus, "the most cunning of human beings," attempting to transcend his imperfections empowered by his imagination to renew his faith in the infinite potentialities of human excellence."--BOOK JACKET
Signifying God
In Signifying God, Sarah Beckwith explores the most lavish, long-lasting, and complex form of collective theatrical enterprise in English history: the York Corpus Christi plays. First staged as early as 1376, the plays were performed annually until the late 1500s and involved as much as a tenth of the city in multiple performances at a dozen or more locations. Introducing a radical new understanding of these plays as "sacramental theater," Beckwith shows how organizing the plays served as a political mechanism for regulating labor, and how theater and sacrament combined in them to do important theological work. She argues, for instance, that the theology of Corpus Christi in the resurrection plays can only be understood as a theatrical exploration of eucharistic absence and presence. Beckwith frames her study with discussions of twentieth-century manifestations of sacramental theater in Barry Unsworth's novel Morality Play and Denys Arcand's film Jesus of Montreal, and the connections between contemporary revivals of the York Corpus Christi plays and England's heritage culture.
Ground-Work
How does soil, as an ecological element, shape culture? With the sixteenth-century shift in England from an agrarian economy to a trade economy, what changes do we see in representations of soil as reflected in the language and stories during that time? This collection brings focused scholarly attention to conceptions of soil in the early modern period, both as a symbol and as a feature of the physical world, aiming to correct faulty assumptions that cloud our understanding of early modern ecological thought: that natural resources were then poorly understood and recklessly managed, and that cultural practices developed in an adversarial relationship with natural processes. Moreover, these essays elucidate the links between humans and the lands they inhabit, both then and now.
Hearings
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Renaissance Drama in Action
Renaissance Drama in Action is a fascinating exploration of Renaissance theatre practice and staging. Covering questions of contemporary playhouse design, verse and language, staging and rehearsal practices, and acting styles, Martin White relates the characteristics of Renaissance theatre to the issues involved in staging the plays today. This refreshingly accessible volume: * examines the history of the plays on the English stage from the seventeenth century to the present day * explores questions arising from reconstructions, with particular reference to the new Globe Theatre * includes interviews with, and draws on the work and experience of modern theatre practitioners including Harriet Walter, Matthew Warchus, Trevor Nunn, Stephen Jeffreys, Adrian Noble and Helen Mirren * includes discussions of familiar plays such as The Duchess of Malfi and 'Tis Pity She's A Whore, as well as many lesser known play-texts Renaissance Drama in Action offers undergraduates and A-level students an invaluable guide to the characteristics of Elizabethan and Jacobean drama, and its relationship to contemporary theatre and staging.
Approaching the Interval in the Early Modern Theatre
In requiring artificial light, the early modern indoor theatre had to interrupt the action so that the candles could be attended to, if necessary. The origin of the five-act, four-interval play was not classical drama but candle technology. This Element explores the implications of this aspect of playmaking. Drawing on evidence in surviving texts it explores how the interval affected composition and stagecraft, how it provided opportunities for stage-sitters, and how amphitheatre plays were converted for indoor performance (and vice versa). Recovering the interval yields new insights into familiar texts and brings into the foreground interesting examples of how the interval functioned in lesser-known plays. This Element concludes with a discussion of how this aspect of theatre might feed into the debate over the King's Men's repertory management in its Globe-Blackfriars years and sets out the wider implications for both the modern theatre and the academy.
Staging Faith
"Illustrating this thesis through an examination of the plays themselves, Staging Faith explores how different modes of production resulted in different types of dramatic organization, different relationships between the audience and the dramatic action, and how dramatists exploited the symbolic and affective potential of different types of settings, props, and dramatic actions. The simple place-and-scaffold play accommodated an oppositional structure, one that could be embodied spatially in the arrangement of the scaffolds and further articulated in processional action. The symbolic images in these dramas often have a strongly devotional character and attempt to unite the play's audience around a central devotional object or scene."--BOOK JACKET.
