David Lindley – författare

The masque had a brief but splendid life as the dominant mode of entertainment at the early Stuart court, and it has increasingly come to be recognized as a genre offering a fascinating insight into the culture and politics of the early seventeenth century.This selection of 18 masque for Charles I, performed just before the outbreak of civil war. It also includes examples of entertainments performed on royal progresses, as well as one domestic masque.Court masques were extravagant multi-media happenings, imbued with often arcane allegorical programmes by writers and designers, and frequently commenting on tipical political issues. In this, the most substantial available selection, readers are offered the annotation necessary for understanding the complexities of the individual texts.Under the General Editorship of Michael Cordner, of the University of York, the texts of the plays have been newly edited and are presented with modernized spelling and punctuation. In addition to the detailed notes there is a scholarly introduction, making this edition invaluable to students of Renaissance drama and court culture.

David Lindley re-examines the murder trials of Frances Howard and the historical representations of her as `wife, a witch, a murderess and a whore', challenging the assumptions that have constructed her as a model of female villainy.

David Lindley re-examines the murder trials of Frances Howard and the historical representations of her as `wife, a witch, a murderess and a whore', challenging the assumptions that have constructed her as a model of female villainy.

For more than a century physicists have hoped that they were closing in on the Holy Grail of modern science: a unified theory that would make sense of the entire physical world, from the subnuclear realm of quarks and gluons to the very moment of creation of the universe. The End of Physics is a history of the attempts to find such a theory of everything" a forceful argument it will never be found and a warning that the compromises necessary to produce a final theory may well undermine the rules of good science.At the heart of Lindley's story is the rise of the particle physicists and their attempts to reach far out into the cosmos for a unifying theory. Working beyond the grasp of the largest telescopes or the most powerful particle accelerators, and unable to subject their findings and theories to experimental scrutiny, they have moved into a world governed entirely by mathematical and highly speculative theorizing, none of which can be empirically verified. Lindley argues that a theory of everything derived from particle physics will be full of untested,and untestable,assumptions. And if physicists yield to such speculation, the field will retreat from the high ground of science, becoming instead a modern mythology. This would mean the end of physics as we know it.

Few revolutions in science have been more far-reaching,but less understood,than the quantum revolution in physics. Everyday experience cannot prepare us for the sub-atomic world, where quantum effects become all-important. Here, particles can look like waves, and vice versa electrons seem to lose their identity and instead take on a shifting, unpredictable appearance that depends on how they are being observed and a single photon may sometimes behave as if it could be in two places at once. In the world of quantum mechanics, uncertainty and ambiguity become not just unavoidable, but essential ingredients of science,a development so disturbing that to Einstein "it was as if God were playing dice with the universe." And there is no one better able to explain the quantum revolution as it approaches the century mark than David Lindley. He brings the quantum revolution full circle, showing how the familiar and trustworthy reality of the world around us is actually a consequence of the ineffable uncertainty of the subatomic quantum world,the world we can't see.

Mr. and Mrs. Peachum are horrified when they learn of their daughter Polly's secret marriage to the rebellious and notorious highwayman, Macheath. However, their fear is soon mitigated when they decide to kill him for his money. When Macheath is in the tavern, surrounded by women of 'ill repute', he discovers that he has been rumbled: two of these women are in cahoots with the Peachums and plan to kill him. He finds himself in Newgate and, worse than that, in the company of the jailer's daughter, Lucy, to whom he is also betrothed. Although Macheath is captured and destined to be hanged, Gay's action-packed and entertaining play subverts audience expectations by letting Macheath off the hook and not punishing its villains. John Gay's satirical opera, written in 1728, was revolutionary because it took poverty and corruption as its subject, and paupers and villains as its characters. The lyrics were set to famous songs of the day making it hugely popular with audiences and a radical departure from traditional opera. The introduction puts the play in its historical and theatrical contexts and details its stage history in modern times too.David Lindley is an expert on theatrical music and the new dramatic form of ballad opera this play created. The music for the songs is included in the text, making this an edition to be used for performance as well as for study.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. For this second edition of The Tempest, David Lindley has thoroughly revised the Introduction to take account of the latest developments in criticism and performance. He has also added a completely new section on casting in recent productions of the play. The complex questions this new section raises about colonisation, racial and gender stereotypes and the nature of theatrical experience are explored throughout the introduction. Careful attention is paid to dramatic form, stagecraft, and the use of music and spectacle in The Tempest, a play that is widely regarded as one of Shakespeare's most elusive and suggestive. A revised and updated reading list completes the edition.

The First Quarto of The Merry Wives of Windsor is the most fascinatingly problematic of all the early Shakespearean texts. Was it an authorial first draft? Or a cut-down version of the better-known Folio text designed for acting? Or a text put together from faulty actors' memories? Or a reported text assembled by notetakers from attendance at the theatre? None of these theories, though advanced and interrogated for the last 250 years, is totally convincing. The Introduction to this edition explores the various attempts to make sense of the short version of the play, demonstrating the ways in which preferences for one theory or another reflect the changes in editorial theory and fashion over the centuries. The modernised text and its commentary enable the reader to enter into this ongoing and endlessly intriguing debate.

Music has been an essential constituent of Shakespeare's plays from the sixteenth century to the present day, yet its significance has often been overlooked or underplayed in the history of Shakespearean performance. Providing a long chronological sweep, this collection of essays traces the different uses of music in the theatre and in film from the days of the first Globe and Blackfriars to contemporary, global productions. With a unique concentration on the performance aspects of the subject, the volume offers a wide range of voices, from scholars to contemporary practitioners (including an interview with the critically acclaimed composer Stephen Warbeck), and thus provides a rich exploration of this fascinating history from diverse perspectives.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. For this second edition of The Tempest, David Lindley has thoroughly revised the Introduction to take account of the latest developments in criticism and performance. He has also added a completely new section on casting in recent productions of the play. The complex questions this new section raises about colonisation, racial and gender stereotypes and the nature of theatrical experience are explored throughout the introduction. Careful attention is paid to dramatic form, stagecraft, and the use of music and spectacle in The Tempest, a play that is widely regarded as one of Shakespeare's most elusive and suggestive. A revised and updated reading list completes the edition.

Music has been an essential constituent of Shakespeare's plays from the sixteenth century to the present day, yet its significance has often been overlooked or underplayed in the history of Shakespearean performance. Providing a long chronological sweep, this collection of essays traces the different uses of music in the theatre and in film from the days of the first Globe and Blackfriars to contemporary, global productions. With a unique concentration on the performance aspects of the subject, the volume offers a wide range of voices, from scholars to contemporary practitioners (including an interview with the critically acclaimed composer Stephen Warbeck), and thus provides a rich exploration of this fascinating history from diverse perspectives.

This unique and comprehensive study examines how music affects Shakespeare's plays and addresses the ways in which contemporary audiences responded to it. David Lindley sets the musical scene of Early Modern England, establishing the kinds of music heard in the streets, the alehouses, private residences and the theatres of the period and outlining the period's theoretical understanding of music. Focusing throughout on the plays as theatrical performances, this work analyzes the ways Shakespeare explores and exploits the conflicting perceptions of music at the time and its dramatic and thematic potential.

The Tempest is a strange and elusive play; which critics have interpreted in very different ways: as a drama of forgiveness and reconciliation, as an exploration of the limits of theatrical art, or as a play complicit with colonial exploitation. Prospero's island is a fearful yet enchanting place; a place suffused with music, and its storm, disappearing banquet and elaborate betrothal masque demand imaginative stagecraft. Stratford productions have steered their way through the play's complex, even contradictory potential, in fascinatingly varied fashion, and Daivd Lindley explores that variety both as evidence of the evolution of theatrical styles, and as a response to the changing critical fortunes of the play.

Music permeates Shakespeare's plays. This comprehensive study explores the variety of its theatrical functions, situating them in the context of the Early Modern period's understanding of music.From the trumpet calls which animate the battle scenes of the histories and tragedies to the songs which inflect the moods of the comedies and romances, Shakespeare experiments throughout his career with music's potential to contribute to the effect of his dramas. David Lindley sets the musical scene of Shakespeare's England, outlining the period's theoretical understanding of music and discussing the experience of music heard in the streets, alehouses, private residences, courts and theatres, which an audience brought with them to the Globe and Blackfriars. Music could be praised as a symbol of divine and political harmony, or vilified as an incitement to lust and effeminacy; it could heal and cure, or fuel drunken rebellion. Focusing throughout on the plays as theatrical events, this work analyzes Shakespeare's dramatic and thematic exploitation of these conflicting perceptions of music.