Theatre Closure and the Paradoxical Rise of English Renaissance Drama in the Civil Wars

AvHeidi Craig

Inbunden, Engelska, 2023

1 340 kr

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Beskrivning

Focusing on the production and reception of drama during the theatre closures of 1642 to 1660, Heidi Craig shows how the 'death' of contemporary theatre in fact gave birth to English Renaissance drama as a critical field. While the prohibition on playing in many respects killed the English stage, drama thrived in print, with stationers publishing unprecedented numbers of previously unprinted professional plays, vaunting playbooks' ties to the receding theatrical past. Marketed in terms of novelty and nostalgia, plays unprinted before 1642 gained new life. Stationers also anatomized the whole corpus of English drama, printing the first anthologies and comprehensive catalogues of drama. Craig captures this crucial turning-point in English theatre history with chapters on royalist nostalgia, clandestine theatrical revivals, dramatic compendia, and the mysteriously small number of Shakespeare editions issued during the period, as well as a new incisive reading of Beaumont and Fletcher's A King and No King.

Produktinformation

Utgivningsdatum:2023-03-09
Mått:155 x 235 x 18 mm
Vikt:530 g
Format:Inbunden
Språk:Engelska
Antal sidor:256
Förlag:Cambridge University Press
ISBN:9781009224031

Utforska kategorier

Europas historia inom Historia och arkeologi
Dramatik inom Skönlitteratur
Litteraturvetenskap inom Skönlitteratur

Mer om författaren

Heidi Craig is Assistant Professor of English at Texas A&M University, editor of the World Shakespeare Bibliography and co-editor of Early Modern Dramatic Paratexts. She is the recipient of fellowships from the Huntington Library, Newberry Library, and Folger Shakespeare Library.

Recensioner i media

'Innovative in its adherence to subtle changes and continuations between the 1640s, 50s, 60s and 70s, Heidi Craig's brilliant study promises to reshape our thinking about early modern theatre history and the emergence of the field we now know as Renaissance drama. Drawing on detailed knowledge of book and theatre history, Craig illustrates how the apparent death of theatre in 1642, and the commercial practices of individual stationers, helped to shape both the posthumous histories of Shakespeare, Jonson and Beaumont and Fletcher, and ways in which drama was conceptualised in the late seventeenth century and beyond.' Emma Depledge, Université de Neuchâtel