The repertory of Strange's Men, as it is represented in Henslowe's records of their 134 performances at the Rose Theatre in 1592/3, contains an unusually large number of plays involving pyrotechnics, possibly including the staging of human immolations. Though pyrotechnics were a familar feature of traditional dramaturgy, such effects were used by Strange's Men to represent acts of cruelty and judicial punishment that had an edge of topical relevance to English history and politics. The theatrical daring of pyrotechnics in the Strange's repertory may thus have been part of a 'company style' that readily accommodated the politically daring and dramatically innovative work of Marlowe in The Jew of Malta and The Massacre at Paris and of the y...
"Acts of Imagination" examines playing companies as the locus for the production of Renaissance dram...
This collection of new essays explores the social, political, and economic pressures under which the...
In this article, I examine how two English theatrical phenomena used stage technology to produce ill...
The repertory of Strange's Men, as it is represented in Henslowe's records of their 134 performances...
This work was supported by the Huntington Library.This article rereads Norton and Sackville’s Inns o...
Less spectacular than theatrical violence involving bloodshed, stage murder by poison is nonetheless...
The characterization of women in the English theatre during the late seventeenth century shows femal...
In 1616, Queen Anne's Men, under the management of Christopher Beeston, moved theatrical operations ...
textTorture and the Drama of Emergency: Kyd, Marlowe, Shakespeare recovers the legal complexity of e...
The three witches who initiate William Shakespeare\u27s (1564 - 1616) Macbeth (1606) are the play\u2...
Shakespeare's tragedy Macbeth (1606), recounting the bloody reign of a usurper in medieval Scotland,...
Sixteenth- and seventeenth-century public executions were both dramatic and theatrical. But while th...
Though much worthy scholarship exists about English Restoration theatre, few studies examine the int...
Francis Beaumont’s play, The Knight of the Burning Pestle (1607) stages a disjunction between interp...
Engraving of ballerinas (perhaps the Gale sisters) and the 1861 fire at the Continental Theatre, fro...
"Acts of Imagination" examines playing companies as the locus for the production of Renaissance dram...
This collection of new essays explores the social, political, and economic pressures under which the...
In this article, I examine how two English theatrical phenomena used stage technology to produce ill...
The repertory of Strange's Men, as it is represented in Henslowe's records of their 134 performances...
This work was supported by the Huntington Library.This article rereads Norton and Sackville’s Inns o...
Less spectacular than theatrical violence involving bloodshed, stage murder by poison is nonetheless...
The characterization of women in the English theatre during the late seventeenth century shows femal...
In 1616, Queen Anne's Men, under the management of Christopher Beeston, moved theatrical operations ...
textTorture and the Drama of Emergency: Kyd, Marlowe, Shakespeare recovers the legal complexity of e...
The three witches who initiate William Shakespeare\u27s (1564 - 1616) Macbeth (1606) are the play\u2...
Shakespeare's tragedy Macbeth (1606), recounting the bloody reign of a usurper in medieval Scotland,...
Sixteenth- and seventeenth-century public executions were both dramatic and theatrical. But while th...
Though much worthy scholarship exists about English Restoration theatre, few studies examine the int...
Francis Beaumont’s play, The Knight of the Burning Pestle (1607) stages a disjunction between interp...
Engraving of ballerinas (perhaps the Gale sisters) and the 1861 fire at the Continental Theatre, fro...
"Acts of Imagination" examines playing companies as the locus for the production of Renaissance dram...
This collection of new essays explores the social, political, and economic pressures under which the...
In this article, I examine how two English theatrical phenomena used stage technology to produce ill...