Gillian Woods – författare

Why does Catholicism have such an imaginative hold on Shakespearean drama, even though the on-going Reformation outlawed its practice? Shakespeare''s Unreformed Fictions contends that the answers to this question are theatrical rather than strictly theological. Avoiding biographical speculation, this book concentrates on dramatic impact, and thoroughly integrates new literary analysis with fresh historical research.In exploring the dramaturgical variety of the ''Catholic'' content of Shakespeare''s plays, Gillian Woods argues that habits, idioms, images, and ideas lose their denominational clarity when translated into dramatic fiction: they are awkwardly ''unreformed'' rather than doctrinally Catholic. Providing nuanced readings of generically diverse plays, this book emphasises the creative function of such unreformed material, which Shakespeare uses to pose questions about the relationship between self andother. A wealth of contextual evidence is studied, including catechisms, homilies, religious polemics, news quartos, and non-Shakespearean drama, to highlight how early modern Catholicism variously provoked nostalgia, faith, conversion, humour, fear, and hatred. This book argues that Shakespeareexploits these contradictory attitudes to frame ethical problems, creating fictional plays that consciously engage audiences in the difficult leaps of faith required by both theatre and theology. By recognizing the playfulness of Shakespeare''s unreformed fictions, this book offers a different perspective on the interactions between post-Reformation religion and the theatre, and an alternative angle on Shakespeare''s interrogation of the scope of dramatic fiction.

Why does Catholicism have such an imaginative hold on Shakespearean drama, even though the on-going Reformation outlawed its practice? Shakespeare's Unreformed Fictions contends that the answers to this question are theatrical rather than strictly theological. Avoiding biographical speculation, this book concentrates on dramatic impact, and thoroughly integrates new literary analysis with fresh historical research. In exploring the dramaturgical variety of the 'Catholic' content of Shakespeare's plays, Gillian Woods argues that habits, idioms, images, and ideas lose their denominational clarity when translated into dramatic fiction: they are awkwardly 'unreformed' rather than doctrinally Catholic. Providing nuanced readings of generically diverse plays, this book emphasises the creative function of such unreformed material, which Shakespeare uses to pose questions about the relationship between self and other. A wealth of contextual evidence is studied, including catechisms, homilies, religious polemics, news quartos, and non-Shakespearean drama, to highlight how early modern Catholicism variously provoked nostalgia, faith, conversion, humour, fear, and hatred. This book argues that Shakespeare exploits these contradictory attitudes to frame ethical problems, creating fictional plays that consciously engage audiences in the difficult leaps of faith required by both theatre and theology. By recognizing the playfulness of Shakespeare's unreformed fictions, this book offers a different perspective on the interactions between post-Reformation religion and the theatre, and an alternative angle on Shakespeare's interrogation of the scope of dramatic fiction.

This guide surveys the truly essential criticism of the play over the last four centuries, from 16th-century responses to the present day. Discussing key areas of debate, and a wide range of scholarship, Gillian Woods provides an invaluable introduction to the vast array of criticism surrounding one of Shakespeare's most popular plays.

This guide surveys the truly essential criticism of the play over the last four centuries, from 16th-century responses to the present day. Discussing key areas of debate, and a wide range of scholarship, Gillian Woods provides an invaluable introduction to the vast array of criticism surrounding one of Shakespeare''s most popular plays.

What do ‘stage directions’ do in early modern drama? Who or what are they directing: action on the stage, or imagination via the page? Is the label ‘stage direction’ helpful or misleading? Do these ‘directions’ provide evidence of Renaissance playhouse practice? What happens when we put them at the centre of literary close readings of early modern plays? Stage Directions and Shakespearean Theatre investigates these problems through innovative research by a range of international experts. This collection of essays examines the creative possibilities of stage directions and and their implications for actors and audiences, readers and editors, historians and contemporary critics. Looking at the different ways stage directions make meaning, this volume provides new insights into a range of Renaissance plays.

This guide surveys the truly essential criticism of the play over the last four centuries, from 16th-century responses to the present day. Discussing key areas of debate, and a wide range of scholarship, Gillian Woods provides an invaluable introduction to the vast array of criticism surrounding one of Shakespeare''s most popular plays.

What do ‘stage directions’ do in early modern drama? Who or what are they directing: action on the stage, or imagination via the page? Is the label ‘stage direction’ helpful or misleading? Do these ‘directions’ provide evidence of Renaissance playhouse practice? What happens when we put them at the centre of literary close readings of early modern plays? Stage Directions and Shakespearean Theatre investigates these problems through innovative research by a range of international experts. This collection of essays examines the creative possibilities of stage directions and and their implications for actors and audiences, readers and editors, historians and contemporary critics. Looking at the different ways stage directions make meaning, this volume provides new insights into a range of Renaissance plays.

What do ''stage directions'' do in early modern drama? Who or what are they directing: action on the stage, or imagination via the page? Is the label ''stage direction'' helpful or misleading? Do these ''directions'' provide evidence of Renaissance playhouse practice? What happens when we put them at the centre of literary close readings of early modern plays? Stage Directions and Shakespearean Theatre investigates these problems through innovative research by a range of international experts. This collection of essays examines the creative possibilities of stage directions and and their implications for actors and audiences, readers and editors, historians and contemporary critics. Looking at the different ways stage directions make meaning, this volume provides new insights into a range of Renaissance plays.