Journal articles: 'Renaissance theatre'

1

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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9

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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McEvilla, Joshua, Elizabeth Sharrett, Jennifer Cryar, Cristiano Ragni, and Alice Equestri. "VIII Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 98, no. 1 (2019): 445–94. http://dx.doi.org/10.1093/ywes/maz003.

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Abstract This chapter has three sections: 1. Editions and Textual Matters; 2. Theatre History; 3. Criticism. Section 1 is by Joshua McEvilla; section 2 is by Elizabeth Sharrett; section 3(a) is by Jennifer Cryar; section 3(b) is by Cristiano Ragni; section 3(c) is by Alice Equestri.

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Berek, Peter. "The Jew as Renaissance Man." Renaissance Quarterly 51, no. 1 (1998): 128–62. http://dx.doi.org/10.2307/2901665.

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AbstractThe Jew available to be known in England in the 1590s is a Marrano - a covert figure whose identity is self-created, hard to discover, foreign, associated with novel or controversial enterprises like foreign trade or money-lending, and anxiety-producing. By and large, non-theatrical representations of Jewishness reveal less ambivalence than does Marlowe's Barabas. In the plays of Marlowe and then of Shakespeare, the Jew becomes a figure which enables the playwright to express and at the same time to condemn the impulse in both culture and theatre to treat selfhood and social role as a matter of choice. By becoming theatrical, the anxiety about identity and innovation implicit in the Marrano state gains explicitness and becomes available to the culture at large. Marlowe and Shakespeare play a central role in creating - not imitating - the frightening yet comic Jewish figure which haunts Western culture. But the immediate impact of their achievement is felt in the theatre, and is barely visible in non-theatrical discourse about Jews in the decades after their plays.

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Guarracino, Serena. "«Come muovermi nel mio corpo da uomo»: il corpo maschile travestito nel teatro inglese, dai ragazzi attori a Caryl Churchill." Storia delle Donne 16 (July 7, 2021): 37–53. http://dx.doi.org/10.36253/sd-11461.

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Among the many traditions of cross-dressing in performing practices, English Renaissance theatre plays a central symbolic role, especially considering the Shakespearean canon; however, only through the disruptive reading of gender and queer studies Shakespeare’s theatre has been studied as a transvestite theatre in which all female parts were played by boy actors. This article intends to show how this transvestite body opens a diachronic perspective on those theatrical practices of the second half of the twentieth century that rediscover the Elizabethan stage as a locus of artifice. Renaissance and twentieth-century theatre thus share the transvestite male body, not following a linear dynamic of model and imitation, but in a much more complex interweaving of echoes and returns. Through an analysis of two works by the playwright Caryl Churchill, Cloud Nine (1979) and A Mouthful of Birds (1986), the essay explores the transvestite male body as a place of dialogue between the Shakespearean and the contemporary scene, which share effeminacy -here understood as the staging of femininity on a male body- as a detonator for a wider crisis of binary categories.

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Inštitorisová, Dagmar. "Renaissance Motifs in Jozef Ciller’s Shakespearean Scenographies." Slovenske divadlo /The Slovak Theatre 65, no. 1 (March 28, 2017): 22–31. http://dx.doi.org/10.1515/sd-2017-0002.

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Abstract Employing a comparative method, the present study explores the Renaissance expression of Jozef Ciller’s Shakespearean scenographies. Based on an analysis of preserved archival material (scenographic proposals, photographs from productions, video recordings, reviews, etc.) and personal communication with Jozef Ciller, the author examines how he transposed general features of European Renaissance (visual arts, architecture) into individual scenographic solutions. The author’s analysis also aims to identify how Ciller worked with the architecture and scenography of Elizabethan theatre Renaissance and observe his work with Renaissance elements depending on whether a scenography was meant for indoors or outdoors. The author concludes that Jozef Ciller employs Renaissance elements as motifs to preserve the awareness of man’s Renaissance spirit and greatness.

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Braginskaya, Nina V. "Symbolist Ideas in the Scripts of Gubpolitprosvet." Keria: Studia Latina et Graeca 20, no. 3 (November 22, 2018): 27–40. http://dx.doi.org/10.4312/keria.20.3.27-40.

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During the period of the so-called Silver age of Russian culture, three outstanding translators of the Greek tragedy, Tadeusz Zieliński, Innokentiy Annensky and Vyacheslav Ivanov, put forward the idea of the third, Slavonic Renaissance – the new rebirth of Antiquity, with the leading role of the Slavic peoples, particularly the Russians. They claimed that while the first Renaissance was Romanesque and the second German (in the era of Winckelmann, Goethe and German classical philology), the third one was supposed to be Slavonic. In the early Soviet period, the idea of Slavonic Renaissance brought about some unexpected results, first of all precisely in the sphere of theater. The paper focuses on how symbolist ideas got to be expressed in the performances of classical tragedies. Ivanov authored the expression “creative self-performance” that later, in the Soviet era, acquired the meaning of “non-professional performance,” such as comedies staged by “sailors and the Red Army soldiers,” Adrian Piotrovsky’s “amateur theatre,” and the pioneer reconstruction of the scenic performance of Aristophanes’ comedies done by Sergey Radlov, Adrian Piotrovsky, and others.

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Rubín Vázquez de Parga, Isabel. "ANÁLISIS DE LOS PERSONAJES FEMENINOS EN LAS TRAGEDIAS DE VITTORIO ALFIERI." Revista Internacional de Culturas y Literaturas 10, no. 10 (2011): 142–54. http://dx.doi.org/10.12795/ricl.2011.i10.10.

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III, Thomas W. Russell. "The Renaissance Theatre Company in Los Angeles, 1990." Shakespeare Quarterly 41, no. 4 (1990): 502. http://dx.doi.org/10.2307/2870782.

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Brajovic, Sasa. "The renaissance self." Theoria, Beograd 52, no. 1 (2009): 51–64. http://dx.doi.org/10.2298/theo0901051b.

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The scope and accomplishment of Renaissance literary and visual forms of self-expression, regardless of the mode of their interpretation today, offer proof of the idea of the Renaissance as an age of creation of the modern self. Extensive research has indicated that selfconstruction is the product of a combination of social, economic, political and intellectu-al forces. Still, can they determine the self fully or is there also something that cannot be processed? Letters, astrological and alchemical studies, drama and theatre and, in particular, Renaissance Neoplatonism, indicate that the Renaissance self, the elite self at least, is free and resistent, strongly individualized. Homo humanus is in harmony with the constructed ego ideal of his age but he is also focused on gnothi seaut?n, conscious of his own singolarita, unique and inimitable.

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Woolland, Brian. "‘A Whole New World Still to Make’: a Valedictory for Peter Barnes." New Theatre Quarterly 21, no. 1 (January 26, 2005): 23–27. http://dx.doi.org/10.1017/s0266464x04000302.

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Brian Woolland is the author of a major study of Peter Barnes's work, Dark Attractions: the Theatre of Peter Barnes, published by Methuen in the autumn of 2004 – too late to take more than brief note of the playwright's death in July. The following critical retrospective serves, then, both as a valedictory postscript to the author's full-length study and as a critical afterword to the personal tributes paid to Peter Barnes by Alan Rickman, Charles Marowitz, and Elaine Turner in NTQ80. Brian Woolland is Senior Lecturer in Drama and Theatre at the University of Reading. His research interests are in Renaissance theatre in performance, modern European theatre, and theatre in education. He also works as a playwright and as a theatre director.

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Landro, Vincent. "Henslowe's Relocation to the North: Playhouse Management in Renaissance London." Theatre Survey 38, no. 2 (November 1997): 31–47. http://dx.doi.org/10.1017/s0040557400002064.

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If the London theatre of the Renaissance was one of the earliest examples of theatre as a commercial entertainment, then its playhouses were its largest physical investment and central visual focus. The Theatre, Curtain, Rose, Fortune, Globe, Swan, Hope and Cockpit were not only architectural inventions designed to replace previous itinerant playing practices with performances in fixed spaces where the acting companies could control admissions. They were also major financial investments by playhouse owners. The increase in the building of playhouses between 1576 and 1616 reflect a growing industry creating custom-built places of production that became regular fixtures in the urban geography of Renaissance London. The unprecedented rate of playgoing also increased interest in the possibility of profits by investors, shareholders, and those who operated the playhouses. In short, the London theatre was organized to make money, and London's playhouses were profit centers for the production and consumption of an aesthetic product. Within such a commercial climate, the decisions of playhouse owners concerning building, rebuilding, or abandonment of each facility were critical choices based on profits rather than aesthetics. The location of a playhouse was as important as what went on inside it. Decisions regarding playhouse location, then, can be examined as successful or unsuccessful pragmatic responses to competitive pressures, changing audience response, and expectation of profits in a speculative new industry within a fast-growing city.

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Rant, Tjaša. "A Slovenian Actress of Russian Origin – Maria Nablotskaya." Monitor ISH 17, no. 1 (September 11, 2015): 79–101. http://dx.doi.org/10.33700/1580-7118.17.1.79-101(2015).

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Russian actress Maria Nikolaevna Borislavska, better known as Maria Nablotskaya, was carried by love and an emigration wave to Ljubljana in 1922, where she became a member of Ljubljana’s Drama Theatre after her very first performance. With the help of her second husband, actor and director Boris Putyata, she transferred the knowledge acquired in Russian imperial theatres to the Slovenian territory, where she further developed her talent. Her acting was modern and direct, and her most outstanding roles were those of psychologically realistic tragic and tragicomic female characters. Her humorous gift, on the other hand, was given free scope in European Renaissance comedies. The purpose of this text is to present the career of Maria Nablotskaya from its promising, affluent, carefree beginnings to the great actress’s final years spent in a cramped room, as well as to outline her rich legacy to the Slovenian theatre.

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Holderness, Graham. "Introduction." Critical Survey 32, no. 4 (December 1, 2020): 1–2. http://dx.doi.org/10.3167/cs.2020.320401.

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In this issue of Critical Survey, the journal continues to publish cutting-edge research on Shakespeare and Renaissance literature, together with innovative work in modern literature and theatre studies.

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Johnston, Andrew James. "Chaucer‘s Postcolonial Renaissance." Bulletin of the John Rylands Library 91, no. 2 (September 2015): 5–20. http://dx.doi.org/10.7227/bjrl.91.2.1.

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This article investigates how Chaucer‘s Knight‘s and Squire‘s tales critically engage with the Orientalist strategies buttressing contemporary Italian humanist discussions of visual art. Framed by references to crusading, the two tales enter into a dialogue focusing, in particular, on the relations between the classical, the scientific and the Oriental in trecento Italian discourses on painting and optics, discourses that are alluded to in the description of Theseus Theatre and the events that happen there. The Squire‘s Tale exhibits what one might call a strategic Orientalism designed to draw attention to the Orientalism implicit in his fathers narrative, a narrative that, for all its painstaking classicism, displays both remarkably Italianate and Orientalist features. Read in tandem, the two tales present a shrewd commentary on the exclusionary strategies inherent in the construction of new cultural identities, arguably making Chaucer the first postcolonial critic of the Renaissance.

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Smarr, Janet. "The Marriage of Plautus and Boccaccio." Colloquium, no. 9788879166539 (September 2013): 133–42. http://dx.doi.org/10.7359/653-2013-smar.

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The convergence of Plautus and Boccaccio was foundational to Italian Renaissance comedy. In some ways the features of thecoincided with those of Plautine comedies. Nonetheless, what remained unacceptable differed between the two societies. Thus thecontributed fruitful new elements to Renaissance theatre. Bibbiena’swas crucial to this development by treating thenot just as a collection of stories and plots, but as a treasury of reusable situations, character types, gags, and speeches separable from their original contexts.

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Wilmer, Steve. "Women' Theatre in Ireland." New Theatre Quarterly 7, no. 28 (November 1991): 353–60. http://dx.doi.org/10.1017/s0266464x00006059.

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So close was the relationship between women and the Irish literary and theatrical renaissance that the severely diminished feminist role in contemporary Irish cultural and theatrical life contrasts all the more revealingly with the early achievements. In this article, which is an expanded version of a paper given at the 1990 conference of the International Federation for Theatre Research at Glasgow University, Steve Wilmer etches in the historical perspective, notably the significance of women's writing to the nationalist as well as the suffragist movement, and outlines the present situation, in which the solid advances being made by women directors and administrators are only slowly being reflected in an increase in women's theatre writing and support for feminist theatre groups, let alone the assumption of real theatrical power. Steve Wilmer teaches in the Samuel Beckett Centre at Trinity College Dublin, and is the author of several plays, including Scenes from Soweto.

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Rahmatullayeva, Dilfuza. "EXPLORING THE UZBEK THEATRE OF THE NATIONAL RENAISSANCE PERIOD." JOURNAL OF SCIENCE AND INNOVATIVE DEVELOPMENT 9, no. 5 (October 10, 2019): 30–34. http://dx.doi.org/10.36522/2181-9637-2019-5-4.

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Stephenson, Jenn. "Singular impressions: Meta-theatre on Renaissance celebrities and corpses." Studies in Theatre and Performance 27, no. 2 (June 2007): 137–53. http://dx.doi.org/10.1386/stap.27.2.137_1.

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Beecher, Donald. "Leone de' Sommi and Jewish Theatre in Renaissance Mantua." Renaissance and Reformation 29, no. 2 (January 20, 2009): 5–19. http://dx.doi.org/10.33137/rr.v29i2.11410.

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This is a study of a Renaissance artist and his patrons, but with an added complication, insofar as Leone de' Sommi, the gifted academician and playwright in the employ of the dukes of Mantua in the second half of the sixteenth century, was Jewish and a lifelong promoter and protector of his community. The article deals with the complex relationship between the court and the Jewish "università" concerning the drama and the way in which dramatic performances also became part of the political, judicial and social negotiations between the two parties, as well as a study of Leone's role as playwright and negotiator during a period that was arguably one of the best of times for the Jews of Mantua.

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Gavrila, Mihaela. "Radioteatro en Italia. Narrativa entre la radiodifusión pública y los nuevos espacios digitales." INDEX COMUNICACION 9, no. 2 (June 30, 2019): 75–98. http://dx.doi.org/10.33732/ixc/09/02radiot.

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This paper analyzes Italian radio theatre evolution and its ability to put itself always in the middle between radio and other expressive media: theatre, cinema, comics, daily news, books and Internet. Starting from the analysis of the main evolutionary phases of this complex radio genre, this contribution illustrates the complexity of radio theatre as one of the treasures brought to light by media archeology, which lends itself almost naturally to disciplinary and media crossings. In this expressive format, belonging to media proto history, lurks a deeply complex nature and fervent creativity, which rediscovers in the ether an amplifier of the digital, a new space of expressiveness and diversification of its audience. Keywords: Radio Theatre; Media Narratives; Social Cohesion; Innovation; Creativity; Digital Renaissance.

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Scarr, Richard. "Alan Bennett: Political Playwright." New Theatre Quarterly 12, no. 48 (November 1996): 309–22. http://dx.doi.org/10.1017/s0266464x00010502.

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Alan Bennett is one of the most popular mainstream dramatists working in Britain today, his canon now a mainstay of regional and amateur theatre companies. Yet for a writer who was once compared to John Osborne as taking ‘the moral temperature of the nation’, his output is widely regarded as apolitical and, at worst, ‘safe’. In the following article, Richard Scarr suggests that this viewpoint is misleading, and argues that Bennett is not only one of the most politically contentious playwrights in dominant theatre, but that the ideological viewpoints he has supported have changed as his career has progressed. Richard Scarr is an English graduate of the University of North London, and has recently completed an MA in Renaissance Studies at Queen Mary and Westfield College. He is currently researching a PhD on the rhetoric of Renaissance comedy, with particular emphasis on the double-entendre.

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Berghaus, Günter. "The Futurist Banquet: Nouvelle Cuisine or Performance Art?" New Theatre Quarterly 17, no. 1 (February 2001): 3–17. http://dx.doi.org/10.1017/s0266464x00014287.

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The Futurist movement was not only an artistic but also a social and political force for innovation, conceived as a total and permanent revolution encompassing all aspects of human life. One such aspect was food. Banquets had been a highly developed performative art in the Italian Renaissance and were again placed in a theatrical framework by the Futurists after the First World War. They founded three night clubs, where food and drinks were served in Futurist fashion, and opened several restaurants dedicated to a renewal of Italian culinary habits. In the 1930s, the Futurists focused on the creation of a new lifestyle called aerovita, which included cooking and dining as paratheatrical arts. Many of the recipes (or rather scenarios) in the Futurist cookbook La cucina futurista of 1932 derived from banquets that Marinetti, the driving force of Futurism, had organized as a kind of savoury-olfactory-tactile theatre accompanied by music and poetry recitations. The highly imaginative table scenery and food sculptures were complemented by inventive lighting effects and an amazing mise en scéne of interior decor, furniture, and waiters' garb. This essay describes and analyzes some of the Futurist experiments with culinary theatre, the manifestos dedicated to Futurist cuisine, and some of the Futurist concepts of dining as a performative art. Günter Berghaus is Reader in Theatre History and Performance Studies at the Drama Department, University of Bristol, and has published a dozen books and a large number of articles on theatre anthropology, Renaissance and Baroque theatre, dance history, and avant-garde performance. Directing a number of Futurist shows led to the publication of The Genesis of Futurism (1995), Futurism and Politics (1996), Italian Futurist Theatre (1998), and International Futurism in the Arts and Literature (2000).

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EVERIST, MARK. "Theatres of litigation: Stage music at the Théâtre de la Renaissance, 1838–1840." Cambridge Opera Journal 16, no. 2 (July 2004): 133–61. http://dx.doi.org/10.1017/s095458670400182x.

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From 1807 to 1864, Parisian music drama was governed by a system of licences that controlled the repertory of its three main lyric theatres: the Opéra (variously Académie Royale, Nationale and Impériale de Musique), the Théâtre-Italien and the Opéra-Comique. Between 1838 and 1840, the Théâtre de la Renaissance gained a licence to put on stage music, and quickly succeeded in establishing a reputation for energetic management, imaginative programming together with artistically and financially successful performances. It could do this only by exploiting what were effectively newly invented types of music drama: vaudeville avec airs nouveaux and opéra de genre. The invented genres however brought the theatre into legal conflict with the Opéra-Comique and Opéra respectively, and opened up a domain of jurisprudence –associated with repertory rather than copyright – hitherto unsuspected.

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Kropacheva, Kseniya Aleksandrovna. "The establishment of literary canon of French dramaturgy of the XVI century." Litera, no. 10 (October 2020): 1–7. http://dx.doi.org/10.25136/2409-8698.2020.10.33800.

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This article reviews gradual development of the literary canon of French theater of the Renaissance Era, which in many ways predetermined the emergence and further evolution of classicistic dramaturgy. The subject of this research is the principles of dramaturgical art formulated by the poets and theoreticians of the XVI century within the framework of poetic texts and treatises. The goal consists in description of the stages in establishment of the theatrical canon in France of the Renaissance Era, juxtapose its principles to the medieval theater, determine to which stage is attributed the emergence of representations on the classical theater, and highlight the factors that influenced its development. The novelty of this research lies in the attempt of comprehensive analysis of the poetic texts and treatises that allow reconstructing the processes unfolded in the XVI century in French theater, as well as comparing them to medieval tradition, as well as to gradually forming classicism. The relevance is substantiated by the need that occurred in literary studies to understand the formation of classical principles of French dramaturgy based on the materials of poetic works of the Renaissance Era. The author delineates three staged in the process of formation of the canon of French theatre of the Renaissance Era. The first is associated with the publication of Joachim du Bellay's manifesto, which indicates the “gap” in French literature in the area of drama and appeals to fill it. For realization of the second stage, pivotal becomes the figure of Étienne Jodelle, the author of tragedy “Cléopâtre Captive”, which epitomized an attempt to revive of antique tragedy, and comedy “Eugène”.. So in France of the XVI century. This led to the emergence of French national theatrical tradition that can be considered a literary canon. The third stage of its formation became the recognition of Jodelle's achievements in the theory of poetry. In 1555, Jacques Peletier in “Art Poétique” cited both compositions as the examples of tragedy and comedy, which contributed to consolidation of the canon.

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Clare (book author), Janet, and Trevor Cook (review author). "Shakespeare’s Stage Traffic: Imitation, Borrowing and Competition in Renaissance Theatre." Renaissance and Reformation 39, no. 1 (April 26, 2016): 158–60. http://dx.doi.org/10.33137/rr.v39i1.26550.

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35

Dean, Paul. "Shakespeare's Stage Traffic: Imitation, Borrowing and Competition in Renaissance Theatre." English Studies 97, no. 3 (March 2016): 343–44. http://dx.doi.org/10.1080/0013838x.2015.1130455.

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Mazouer, C. "Jeux d'influences: theatre et roman de la Renaissance aux Lumieres." French Studies 65, no. 2 (March 25, 2011): 251–52. http://dx.doi.org/10.1093/fs/knr013.

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Daemen-de Gelder, Katrien. "Devil Theatre. Demonic Possession and Exorcism in English Renaissance Drama, 1558-1642 (Studies in Renaissance Literature)." English Studies 90, no. 1 (February 2009): 118–19. http://dx.doi.org/10.1080/00138380802666439.

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Wortham, Christopher John. "Shakespeare Survey 54: Shakespeare and Religions. Edited by Peter Holland. Cambridge: Cambridge University Press, 2001; pp. x + 372. $80 cloth." Theatre Survey 45, no. 1 (May 2004): 161–62. http://dx.doi.org/10.1017/s0040557404420080.

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This richly eclectic volume contains much of interest for theatre historians and academic critics of Renaissance drama as a sociocultural phenomenon. Additionally, it offers a good deal for theatre artists. The main part of the volume, dedicated to the theme of “Shakespeare and Religions,” comprises sixteen articles on topics as various as performance in Japan and the first translation of Shakespeare into Hebrew. Most of the articles are broadly new historicist in flavor, offering insights into interpretation through examination of cultural formations embedded within the text of the plays. Religion is, of course, demonstrated to be one of the most formative influences.

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Fowler, Mayhill C. "Olga Bertelsen, compiler, editor, and with an introduction and notes. Les' Kurbas i teatr "Berezil'": Arkhivni dokumenty (1927-1988) [Les' Kurbas and the Berezil' Theatre: Archival Documents (1927-1988)]." East/West: Journal of Ukrainian Studies 5, no. 2 (September 30, 2018): 191–93. http://dx.doi.org/10.21226/ewjus427.

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Book review of Olga Bertelsen, compiler, editor, and with an introduction and notes. Les' Kurbas i teatr “Berezil'”: Arkhivni dokumenty (1927-1988) [Les' Kurbas and the Berezil' Theatre: Archival Documents (1927-1988)]. 2016. Arkhiv Rozstrilianoho vidrodzhennia [Archive of the Executed Renaissance], vol. 2, Vydavnytstvo “Smoloskyp,” 2010-16. 2 vols. 504 pp. Illustrations. Appendices. Index of Names. UAH 130,00, cloth.

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Elam, Harry. "A History of African American Theatre. By Errol G. Hill and James V. Hatch. Cambridge Studies in American Theatre and Drama. Cambridge: Cambridge University Press, 2003; pp. 608. $130 cloth." Theatre Survey 46, no. 1 (May 2005): 127–29. http://dx.doi.org/10.1017/s0040557405220094.

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Over the more than twenty years since the publication of two profoundly influential collections—Errol Hill's two-volume anthology of critical essays The Theatre of Black Americans (1980) and James V. Hatch's first edition of the play anthology Black Theatre USA (1974)—there has been considerable activity in African American theatre scholarship. Yet even as scholars have produced new collections of historical and critical essays that cover a wide range of African American theatre history, book-length studies that document particular moments in the historical continuum such as the Harlem Renaissance, and Samuel Hay's broader study African American Theatre: An Historical and Critical Analysis (1994), no one until now has written a comprehensive study of African American theatre history. Into this void have stepped two of the aforementioned distinguished scholars of African American theatre, Errol G. Hill and James V. Hatch. To be certain, writing a comprehensive history of African American theatre poses a daunting challenge for anyone hearty enough to undertake it. Where to begin? What to include and exclude? With their study, A History of African American Theatre, Hill and Hatch show themselves indeed worthy of the challenge. They explore the evolution of African American theatre across time and space, documenting the particular efforts of artists, writers, scholars, and practitioners, from inside as well as outside the United States, that have had an impact on our understanding of African American theatre. The authors make clear that the definition of African American theatre from the beginning has been in constant flux and that it has been affected by the changing social times in American as much as it has influenced those times.

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Imiti, Aghogho Lucky. "Nigerian theatre in a digital era and environment." International Journal of Arts and Humanities 2, no. 1 (2022): 93–100. http://dx.doi.org/10.25082/ijah.2022.01.002.

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Theatre, the earliest form of entertainment and enlightenment in Nigeria, is becoming a ghost of itself as a result of its inability to take on the colouration of the times. Some scholars are of the view that there should be a revival of the theatre by establishing more theatre while it remains bonded to its functional root, the live stage, because of its uniqueness. This study examined the likelihood of this renaissance and its survival in the face of the deluge of other media of entertainment in a digitally advanced era and environment. The study relied on the Media Displacement Theory, MDT, which explains a paradigm shift in an individual's use of new media by discarding the preceding one. Using in-depth interviews and Focus Group Discussions, FGD, the study revealed that live theatre-going culture has become unpopular with the Nigerian audience as a result of digital technology and sundry circumstances in recent times, which include insecurity and the COVID-19 outbreak that negates public gathering. The paper advanced that Nigerian theatre cannot afford to remain glued to its roots in a technologically digitalised environment or society, but has to evolve.

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Di Maria (book author), Salvatore, and Filomena Calabrese (review author). "The Poetics of Imitation in the Italian Theatre of the Renaissance." Quaderni d'italianistica 35, no. 1 (January 15, 2015): 154–55. http://dx.doi.org/10.33137/q.i..v35i1.22360.

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Maria (book author), Salvatore Di, and Violetta Topoleva (review author). "The Poetics of Imitation in the Italian Theatre of the Renaissance." Renaissance and Reformation 36, no. 4 (March 15, 2014): 155–57. http://dx.doi.org/10.33137/rr.v36i4.20989.

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Chidi-Igbokwe, MaryIsabella Ada. "The Concept and Characteristics of Classical, Renaissance and Modern Tragedies." European Journal of English Language and Literature Studies 10, no. 8 (August 15, 2022): 42–61. http://dx.doi.org/10.37745/ejells.2013/vol10n84261.

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Greek tragedy developed from rituals associated with the god Dionysus and remained religiously oriented throughout history. The tragedies were therefore, dramatic recreations of myths about conflict between generations as represented by gods and heroes. The characters of tragedy wore their mythical and legendary origins- except when Euripides stripped them of their glory and they retained the stature of historical figures from the heroic age. Thus, the tragic ideas of the playwrights include a conception of tragedy based on the religious views of the time period. Renaissance brought a secularization of the arts, literature and theatre. There was absolutely no connection between theatre and religion. It also brought the individualization of the human being as distinct from society in general. In Renaissance tragedy therefore, the entire emphasis is laid upon human action independent of destiny and the responsibility of the individual in bringing about his ruin. In keeping with Renaissance emphasis upon the infinite capacities of the individual, the Elizabethan tragedies particularly Shakespeare’s explore the limits of man’s action in this universe. Modern implies more than that which is current. It suggests a disinterest in the past and in the values and forms of that past. With the emergence of Ibsen in the late Nineteenth Century came the concept of middle class tragedy growing out of social problems and issues. The little man has gradually taken the place that the illustrious man presided over for many centuries. This paper examines the relationship between the concept and the characteristics of tragedy in the classical, Renaissance and the modern periods. The historical research methodology is employed to dissect the diversity of the tragic conception and characteristics of tragedy in the periods under study. It is established that the tragic conception and characteristics from the time of the Greeks to the present has undergone a metamorphosis in definitions and experience.

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Buckley, Jennifer. "“Symbols in Silence”: Edward Gordon Craig and the Engraving of Wordless Drama." Theatre Survey 54, no. 2 (April 22, 2013): 207–30. http://dx.doi.org/10.1017/s0040557413000033.

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In his bookOn the Art of the Theatre(1911), Edward Gordon Craig recounted seeing a sign on the stage door at the Munich Künstlertheater that momentarily made him think he had discovered “heaven.” “Sprechen Streng Verboten” (speaking strictly forbidden), it read. So eager was he to find comrades who shared his radical vision of a wordless drama that Craig had misread an ordinary request for backstage silence as a ban ononstagespeech. Although he sadly admitted that the German theatre was not as advanced as he had hoped, Craig insisted that the sign contained the “clue” to a modern theatrical renaissance—one he believed himself fully prepared to begin, if only someone else would provide the funds.

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ÜNEY, Muharrem. "A Theatre of a History: Major Themes in Early African-American Theater and their Relations with the History." International Journal of Social, Political and Economic Research 7, no. 4 (December 23, 2020): 1023–39. http://dx.doi.org/10.46291/ijospervol7iss4pp1023-1039.

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Although it is not the first literary type that comes to mind related to African-American literature, the drama has become an important form of black self-expression. The black theater, modernized with time and adapted to the popular formats of the era, has achieved rapid development in the after-slavery period. The Harlem Renaissance was especially a booming era in this respect. This genre sometimes appears as a reinterpretation of the classics like Shakespeare's works with a black point of view, but most often it appears as exclusive works, belonging to, and produced for black people. Black Nationalism, mentioned in this case, is a theme frequently used in theatrical works. Besides, subjects such as slavery, which blacks have suffered from for many years; their search for rights due to the unfair practices they have endured; the utopia of a new beginning as free blacks in another country; and the lives of historical personalities that have marked the blacks' struggle for freedom, are also among the themes that the black theater has used most frequently. In this study, the relationship between the history and the theater of blacks in America will be analyzed by exemplifying and discussing major themes used in the early African-American Theatre.

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Alqadumi, Emad A. "The iconoclastic theatre: transgression in Christopher Marlowe’s Tamburlaine." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (April 15, 2020): 281–93. http://dx.doi.org/10.4314/ejotmas.v7i1-2.18.

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This article examines Christopher Marlowe’s iconoclasm as a dramatist by probing transgressive features in his Tamburlaine the Great, parts I and II. By depicting instances of excessive violence, from the perspective of this study, Marlowe flouts everything his society cherishes. His Tamburlaine demystifies religious doctrines and cultural relations; it challenges the official view of the universe and customary theatrical conventions of Renaissance drama. It destabilizes the norms and values of the Elizabethans and brings about a crisis between the Elizabethan audience and their own culture. Furthermore, Marlowe’s experimentalism in Tamburlaine expands the imaginative representations to include areas never formerly visited, consequently creating an alternative reality for his audience and transforming the popular English theatre in an unprecedented manner. Keywords: Drama, Christopher Marlowe, Elizabethan theatre, Literature, Iconoclasm

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Chidi-Igbokwe, MaryIsabella Ada. "A Comparative Analysis of Classical, Shakespearean and Modern Tragedies." Global Journal of Arts, Humanities and Social Sciences 10, no. 11 (November 15, 2022): 21–36. http://dx.doi.org/10.37745/gjahss.2013/vol10n112136.

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Tragic drama since the Classical Greece has had some distinct changes in the course of its development. Since the time of Sophocles, tragedy has been shaped by different theatrical conventions and philosophies. It has experienced different kinds of change under various kinds of situations, pressures etc., which obviously came from the changing world about it. Each period sees the development of a special orientation and emphasis, a characteristic style of theatre. The framework of this paper falls on its search to draw a comparative analysis of the Classical, Renaissance and Modern tragedies. The tragic conception from the time of the Greeks to the present has undergone a metamorphosis in definitions and experience This paper therefore highlights the fundamental similarities and differences between the tragedies of the Classical, the Renaissance and the Modern ages. It discusses the overall significance of changes in convention which tragedy like every other genre has undergone from the ancient period. The paper concludes that it is obvious from the consideration of the three great periods of tragedy that no theatrical period ever repeats itself as there are differences among them as there must be since the theatre of any given period reflects the world in which it exists.

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Armstrong, Adrian. "Self-Translation in the Northern Renaissance: Jan van der Noot’s French Verse." Magnificat Cultura i Literatura Medievals 7 (December 8, 2020): 211. http://dx.doi.org/10.7203/mclm.7.17177.

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The Brabantian poet Jan van der Noot (1539-95?) wrote in both Dutch and French, and composed several works in both languages. Sometimes the two versions were published separately: the Dutch collection Het Theatre and its French counterpart, Le Theatre, were each printed in London in 1568. More often, the versions appeared alongside each other in bilingual editions: Cort begryp der XII boeken Olympiados / Abregé des douze livres Olympiades (1579), Lofsang van Braband / Hymne de Braband (1580), and various short pieces reproduced in anthologies of Van der Noot’s poetry (1580-95). The present study contends that Van der Noot’s self-translations should be read as translations from Dutch to French, rather than from French to Dutch as scholars have commonly assumed. It examines Van der Noot’s self-translational strategies, focusing in particular on his handling of form and versification, and the role played by paratext and illustrations. In doing so, it offers an alternative perspective on a figure whose translational activity is generally considered to have operated in the opposite direction, introducing innovations into Dutch poetry by imitating the work of Ronsard and the Pléiade.

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Garson, Cyrielle. "Does Verbatim Theatre Still Talk the Nation Talk?" Journal of Contemporary Drama in English 6, no. 1 (April 27, 2018): 206–19. http://dx.doi.org/10.1515/jcde-2018-0021.

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AbstractIn a post-Brexit (and perhaps even post-truth) context, the entire nation is going through an intense period of self-scrutiny, attempting to find a way forward for British culture despite a growing climate of divisive and destructive trends. As ever, verbatim theatre, spearheaded by Rufus Norris’ National Theatre, has sought to provide some answers in its relentless examination of the state of Britain. However, since the renaissance of verbatim theatre in the mid-1990s, the political situation has worsened considerably and it may appear that the typical strategies of verbatim theatre have lost their efficacy, struggling to provide a much-needed alternative. In this article, I will assess some of verbatim theatre’s latest developments in the 21st century through three main case studies, which are DV8’s To Be Straight with You (2007), Catherine Grosvenor’s Cherry Blossom (2008) and Alecky Blythe’s Little Revolution (2014). My main argument is that, notwithstanding the claims to the contrary, verbatim theatre is far from being in decline and it has continued to fluctuate, transform and exceed its familiar parameters, urging us to rethink its general aesthetic coordinates beyond the project of documentary realism and that of a national ‘shadow archive.’ More specifically and drawing from a variety of recent examples including the aforementioned case studies, I will argue that verbatim theatre in this period has a post-postmodern proclivity to make new connections across the fragments and re-construct the social.

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Journal articles on the topic 'Renaissance theatre'

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