Relevant bibliographies by topics / Renaissance theatre

Academic literature on the topic 'Renaissance theatre'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Renaissance theatre"

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Ashdown, Jan. "Northern Theatre: Whose Renaissance?" Irish Review (1986-), no. 7 (1989): 52. http://dx.doi.org/10.2307/29735469.

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Sousa, Geraldo U. De, and Ronald W. Vince. "Renaissance Theatre: A Historiographical Handbook." Shakespeare Quarterly 37, no. 4 (1986): 541. http://dx.doi.org/10.2307/2870699.

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MacLean, Sally-Beth. "Drama and ceremony in early modern England: the REED project." Urban History 16 (May 1989): 38–46. http://dx.doi.org/10.1017/s0963926800009160.

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In 1976 a medieval and renaissance theatre history project was launched under the masthead Records of Early English Drama (now more familiarly known as REED). The official launch had taken two years of planning by scholars from Britain, Canada and the United States, and was given assurance for the future through a ten-year major Editorial Grant from the Canada Council. REED's stated goal – then as now – was to find, transcribe and publish evidence of dramatic, ceremonial and musical activity in Great Britain before the theatres were closed in 1642. The systematic survey undertaken would make available for analysis records relating to the evolution of English theatre from its origins in minstrelsy, through the flowering of drama in the renaissance, to the suppression first of local and then of professional entertainment under the Puritans.
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Sukaj, Silvana, Giuseppe Ciaburro, Gino Iannace, Ilaria Lombardi, and Amelia Trematerra. "The Acoustics of the Benevento Roman Theatre." Buildings 11, no. 5 (May 19, 2021): 212. http://dx.doi.org/10.3390/buildings11050212.

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During the Imperial Roman period, thousands of theatres were built. The theatres have three principal elements: the scene building (actor position), the orchestra and the cavea (spectator seating). The theatres were built without a roof, so they were open-air spaces. The theatres were abandoned afterward the barbarian invasions, and during the Middle Ages, homes were built inside the cavea. The theatres were rediscovered during the Renaissance period. Today, ancient theatres are the center of cultural events and are used for various kinds of shows. This work discussed the acoustics of the Roman theatre of Benevento, which was built during the Imperial Age. The theatre was destroyed after the barbaric invasion and it was rebuilt in the first half of the 1900s. The theatre was opened in 1957, and today it is the center of social and cultural activities. Acoustic measurements were carried out according to ISO 3382 standard, placing an omnidirectional sound source on the scene building and in the orchestra, with the measurement microphones along three directions in the cavea. The acoustic characteristics in various seating areas of the cavea were evaluated. Therefore, it possible to understand in which sectors of the theatre the acoustic characteristics are optimal for different types of theatrical performances.
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Reinheimer, David A., and Christopher Cairns. "The Renaissance Theatre: Texts, Performance, Design." Sixteenth Century Journal 32, no. 3 (2001): 792. http://dx.doi.org/10.2307/2671521.

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Levin, Richard. "Women in the Renaissance Theatre Audience." Shakespeare Quarterly 40, no. 2 (1989): 165. http://dx.doi.org/10.2307/2870817.

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Eaton, Sara, and Katharine Eisaman Maus. "Inwardness and Theatre in the English Renaissance." Sixteenth Century Journal 27, no. 2 (1996): 620. http://dx.doi.org/10.2307/2544239.

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Smallwood, R. L., and David Stevens. "English Renaissance Theatre History: A Reference Guide." Modern Language Review 81, no. 3 (July 1986): 716. http://dx.doi.org/10.2307/3729209.

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George, David E. R. "Quantum Theatre – Potential Theatre: a New Paradigm?" New Theatre Quarterly 5, no. 18 (May 1989): 171–79. http://dx.doi.org/10.1017/s0266464x00003067.

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The ‘theatre of the world’, or Theatrum Mundi, offered a pervasive emblematic view of the relationship between God, as playwright and audience, and his terrestrial creation. Although this became peculiarly appropriate during the Renaissance period, views of the theatre as microcosmic of the larger world have persisted – whether in the consciously wrought imagery of modern sociology or the unconscious colloquial useage of theatrical terms to describe everyday behaviour. In the article which follows, David E. R. George suggests that the ‘view’ of the subatomic world presented by quantum theory makes for a paradigm which is no less compelling, according to which the sense of theatrical ‘potentiality’ which characterizen much contemporary experimental theatre is illuminated and paralleled by the refusal of scientific certainty that quantum theory confronts and accommodates. David George. whose ‘Letter to a Poor Actor’ appeared in NTQ 8 (1986), taught in the Universities of California at Berkeley, Gottingen, Malaysia, and Peking before taking up his present post at Murdoch University, Western Australia. His books include studies of Ibsen. German tragic theory, and Indian ritual dance–drama.
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Nekrasova, Inna A. "Theatre in life and works of Marguerite of Navarre." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 1 (2022): 10–26. http://dx.doi.org/10.35852/2588-0144-2022-1-10-26.

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The article is devoted to the works of the famous writer of the Renaissance epoch – Marguerite of Navarre. Her dramatic works have not yet been translated into Russian and there is extremely little information about them in Russian theatre studies. They have no analogues in the theatre of the first half of the 16th century. Their peculiarity is a combination of the tendencies of late medieval and Renaissance art. On the basis of rare documents and texts of the plays “The Comedy of the Desert”, “The Inquisitor” and “The Comedy of Mont-deMarsan” the problems of their stage interpretation are considered. Marguerite of Navarre composed her plays specifically for staging, not for reading. She was looking for expressive possibilities that had not yet been used by anyone before her. For many reasons, her experiments were not famous beyond her court. The performances were single, staged in different places where she lived, with different performers, so that no more or less stable tradition was created in this circle. Therefore, it is impossible to reconstruct the “theatre of Marguerite of Navarre” as an artistic unit. At the same time, the originality and even the uniqueness of this material makes it possible to study little-known aspects of the history of French theatre in the period of the Middle Ages and the Renaissance.
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Dissertations / Theses on the topic "Renaissance theatre"

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Kubalcik, Stan. "Renaissance and baroque stage technology and its meaning for today's theatre." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/792.

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This thesis seeks to address the understanding of the concept of old stage machinery. In addition, the research will determine the practical applications and meaning of old stage machinery for today's theatre. The approach to this topic will be more historical and practical than theoretical. A thorough examination of the history of theatre and stage technology is initially discussed. This is followed by an in-depth discussion of the practical component of this research and finally, the implications of this for today's theatre. Knowledge of traditional stage technology is a prerequisite for understanding the mechanics of stage technology today. A key finding from the research suggests that the ability for students and directors to have access to old machinery provides inspiration for future productions. More importantly, old machinery can provide students and directors with basic knowledge of the fundamental concepts involved with stage machinery, on which much of today's stage technology is based.
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Levitas, J. B. A. "Irish theatre and cultural nationalism 1890-1916." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.389781.

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Dragnea, Horvath Gabriela [Verfasser]. "Theatre and magic in the Elisabethan Renaissance / Gabriela Dragnea Horvath." Berlin : Freie Universität Berlin, 2012. http://d-nb.info/1027498558/34.

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Mitens, Karina. "The Roman Theatre and its 'reappearance' in the Italian Renaissance." Thesis, Royal Holloway, University of London, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.299462.

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Dragnea, Gabriela [Verfasser]. "Theatre and magic in the Elisabethan Renaissance / Gabriela Dragnea Horvath." Berlin : Freie Universität Berlin, 2012. http://nbn-resolving.de/urn:nbn:de:kobv:188-fudissthesis000000037483-4.

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Barber, Clair. "Shakespeare and cyberspace." Thesis, University of Sussex, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288165.

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Marshall, Tristan Scott. "The idea of the British Empire in the Jacobean public theatre, 1603-c1614." Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307910.

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Lovelock, John David. "The function of music in Greek drama, and its influence on Italian theatre and theatre music in the Renaissance." Thesis, Open University, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.277300.

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Edelstein, Gabriella. "Censorship, Collaboration, and the Construction of Authorship in Early Modern Theatre." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/20174.

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This thesis argues that censorship is central to early modern authorial self-construction and that the regulation of drama should be part of an understanding of dramatic collaboration. Over the last twenty years, literary scholarship has paid increasing attention to the collaborative processes involved in early modern theatrical production. Despite this interest, there has yet to be an account of how dramatic censorship operates as part of the collaborative model, or how censorship affected authorship. This thesis explores the relationship between authorship and political authority, so as to reconsider who is an author and why. By engaging with textual and literary analysis, this thesis reveals how plays were shaped by a culture of collaborative censorship. I have chosen four collaboratively written and censored plays so as to consider the relationship between writing and regulation. From this starting point, I examine the ways that authorship is constructed both within plays and outside of them in early modern as well as our own contemporary culture. I begin with a survey of censorship and collaboration criticism in my Introduction and offer a way of reading early modern drama through collaborative censorship. In Chapter One, I consider the role of credit in Ben Jonson, George Chapman, and John Marston’s Eastward Ho! and how this system of social and financial exchange produced the playwrights’ collaborative and singular modes of authorship. In Chapter Two, I examine the role of scribes and censors as collaborative agents, if not authorial figures, in John Fletcher and Philip Massinger’s The Tragedy of Sir John Van Olden Barnavelt. In Chapter Three, I suggest that service relations are central to dramatic collaboration, and are what prompted the censorial revision of Fletcher, Massinger, and Nathan Field’s The Honest Man’s Fortune. Finally, in Chapter Four, I consider how several models of collaborative authorship have constructed different editions of Sir Thomas More. Each chapter demonstrates how reading a ii collaborative play through censorship, or a censored play through collaboration, can reveal the workings of dramatic production, the relationships between playwrights, and the construction of the authorial self. By being attentive to the relationship between censorship and collaboration, I argue that the regulation of drama was fundamental to dramatic production and the authorship of dramatic texts.
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Frampton, Saul. "The concept of discovery in witchcraft and the theatre in early modern England." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319065.

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Books on the topic "Renaissance theatre"

1

Mulryne, J. R., and Margaret Shewring, eds. Theatre of the English and Italian Renaissance. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21736-6.

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R, Mulryne J., Shewring Margaret, and Seminar on 'English and Italian Renaissance Theatre' (1987 : University of Warwick), eds. Theatre of the English and Italian Renaissance. New York: St. Martin's Press, 1991.

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1903-1967, Gassner John, and Allen Ralph G, eds. Theatre and drama in the making: From antiquity to the Renaissance. New York, NY: Applause Books, 1992.

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Wetmore, Kevin J., ed. Revenge Drama in European Renaissance and Japanese Theatre. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230611283.

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C. W. R. D. Moseley. English Renaissance drama: A very brief introduction to theatre and theatres in Shakespeare's time. Tirril [England]: Humanities-Ebooks, 2008.

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C. W. R. D. Moseley. English Renaissance drama: A very brief introduction to theatre and theatres in Shakespeare's time. Tirril [England]: Humanities-Ebooks, 2008.

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Roper, David. Dame Judi, director: David Roper talks to the actress Judi Dench soon after her debut as a director [of 'Much ado about nothing' for the Renaissance Theatre Company]. [London]: [BBC], 1988.

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C. W. R. D. Moseley. English Renaissance drama: A very brief introduction to theatre and theatres in Shakespeare's time. Tirril [England]: Humanities-Ebooks, 2008.

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Marshall, Peter H. The theatre of the world: Alchemy, astrology and magic in Renaissance Prague. London: Harvell Secker, 2006.

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Janicka-Swiderska, Irena. Dance in drama: Studies in English Renaissance and modern theatre. Łódz: Wydawnictwo Uniwersytetu Łódzkiego, 1992.

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Book chapters on the topic "Renaissance theatre"

1

Fenlon, Iain. "Venice: Theatre of the World." In The Renaissance, 102–32. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-20536-3_3.

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Brown, Alison. "Representation and the renaissance theatre." In The Renaissance, 95–99. Third edition. | New York : Routledge, 2020. | Series: Seminar studies: Routledge, 2020. http://dx.doi.org/10.4324/9780429055560-21.

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Sen, Abhijit. "The Bengal Renaissance theatre and Rabindranath." In Rabindranath Tagore's Theatre, 13–36. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003110279-2.

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Booth, Roy. "Caroline Theatre." In A Companion to English Renaissance Literature and Culture, 556–64. Malden, MA, USA: Blackwell Publishers Ltd, 2007. http://dx.doi.org/10.1002/9780470998731.ch46.

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Bruster, Douglas. "4. Theatre and Drama." In Handbook of English Renaissance Literature, edited by Ingo Berensmeyer, 89–107. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110444889-005.

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Booth, Roy. "Caroline Theatre." In A New Companion to English Renaissance Literature and Culture, 166–75. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444319019.ch51.

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Brown, Mark. "Conclusion: The Future of a Renaissance." In Modernism and Scottish Theatre since 1969, 225–36. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-98639-5_7.

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Andrews, Richard. "Scripted Theatre and the Commedia Dell’Arte." In Theatre of the English and Italian Renaissance, 21–54. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21736-6_2.

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Cavallaro, Daniela. "Educational Theatre for Women: From Renaissance to Fascism." In Educational Theatre for Women in Post-World War II Italy, 15–42. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-349-95096-6_2.

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Godwin, Laura Grace. "Fishing at the Swan: Swan Theatre Plays and the Shaping of an Interpretive Community." In Reinventing the Renaissance, 301–17. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137319401_19.

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Conference papers on the topic "Renaissance theatre"

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Vakalou, M. "The Cretan Theatre at the Renaissance era. Approach of the women figures at the dramaturgy of Chortatsis: tragedy, comedy, pastoral drama." In VI Международная научная конференция по эллинистике памяти И.И. Ковалевой. Москва: Московский государственный университет им. М.В. Ломоносова, 2021. http://dx.doi.org/10.52607/9785190116113_117.

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Reports on the topic "Renaissance theatre"

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Olson, Jon R. Theater Intelligence Training Needs a Renaissance. Fort Belvoir, VA: Defense Technical Information Center, February 2004. http://dx.doi.org/10.21236/ada422699.

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