ENGH English Renaissance Drama
A final chapter provides very full guidance on how to write an essay and how to answer examination questions. The whole book offers good advice which is certain to improve not only your examination performance but also your enjoyment of Renaissance Drama. Categories: Education , Study and Learning Skills.
Show More. Show Less. CD: The Before Shakespeare project was set up by Andy [Kesson] and Lucy [Munro]; joining as a postdoctoral research fellow, I was thrilled by the opportunity to delve deeper and further back into the materials of theatre history, extending the interests of my doctoral research.
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Performance, archaeology, and archival research are at the centre of the project; the exchange between them is challenging and stimulating, generating and exploring fresh questions about the period, its playing spaces, and plays. Q: How did you arrive to studying early modern commercial theatre?
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How has your focus on canonical figures in early modern theatre such as Shakespeare, Spenser, Milton,Jonson, etc. LM: Much of my research has tried to situate literary and dramaturgical experimentation in terms of the structures of the commercial theatre industry.
Great as Shakespeare was, I found Malfi and Edward II far more immediate in both their writing and their subject matter, so I became intrigued quite early on by the relationship between Shakespeare and his contemporaries and the way the former seemed to have been canonised at the expense of the latter. I then spent a few years working at Contact in Manchester, a multi-arts venue dedicated to bringing theatre, dance, spoken word, comedy, cabaret and music to as wide and diverse an audience as possible, with a particular focus on diversity, accessibility, young people and sectors of the community who are not regular theatregoers.
Partway through that MA, I realised that early modern drama united the various things that interested me: the relationships between scholarship and theatre practice, between theatre history and contemporary performance, between experimental and mainstream theatre, between Shakespeare and his contemporaries, between early modern literary values and later literary values. What are some misconceptions regarding the literary canon and these writers that more people of which should be more aware? AK: The major point or puzzle, for me, is that Shakespeare has come to stand for, and therefore in front of, the achievements of early modern drama more generally, to the detriment of our understanding of Shakespeare as much as anyone else.
Since joining the English faculty in , James Mardock has taught undergraduate courses in Shakespeare's tragedies and comedies, the drama of Marlowe, Webster, and Jonson, early English drama, and other literatures of the 16th and 17th centuries, as well as graduate seminars in Jacobean city comedy, Spenser's epic, "The Faerie Queene," and the drama of the English Reformation.
In , appearing with his wife and as-yet-unborn son, he played Claudius in the Nevada Reportory's production of "Hamlet" in the original pronunciation.
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He co-edited "Stages of Engagement," a collection of essays on drama and religion in post-Reformation England, and his current projects include a book-length study of Calvin's influence on early modern drama. Apply Now.
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