New Companion to Renaissance Drama

Arthur F. Kinney is Thomas W. Copeland Professor of Literary History Emeritus in the University of Massachusetts and Founding Director of the Massachusetts Center for Interdisciplinary Renaissance Studies. He is the author and editor of a number of books and essays, including Renaissance Drama (editor, 2005), Shakespeare and Cognition (2006), Elizabethan and Jacobean England (2010), The Oxford Handbook of Shakespeare (editor, 2012), and Renaissance Reflections, Selected Essays 1976-2014 (2014). He is the only recipient of both the Paul Oskar Kristeller Lifetime Achievement Award from the Renaissance Society of America and the Jean Roberts Lifetime Achievement Award from the International Sidney Society. Thomas Warren Hopper is a Ph.D. candidate at the University of Massachusetts Amherst whose research focuses on classical reception. He has previously worked as the Walter T. Chmielewski Fellow for English Literary Renaissance, contributed to the editing of The Oxford Handbook of Shakespeare (2012). He teaches at Eagle Hill School in Hardwick, MA.

• List of Illustrations xNotes on Contributors xiAcknowledgments xviiiIntroduction 1Arthur F. Kinney and Thomas Warren HopperPart I Context 91 The Politics of Renaissance England 11Norman Jones2 Continental Influences 21Lawrence F. Rhu3 Medieval and Reformation Roots 35Raphael Falco4 Popular Culture and the Early Modern Stage 51Sophie Chiari and François Laroque5 Multiculturalism and Early Modern Drama 65Scott Oldenburg6 London and Westminster 75Ian W. Archer7 Travel and Trade 88William H. Sherman8 The Theater and the Early Modern Culture of Debt 98Amanda Bailey9 Vagrancy 112William C. Carroll10 Domestic Life 125Martin Ingram11 Religious Persuasions, c.1580–c.1620 143Lori Anne Ferrell12 Science, Natural Philosophy, and New Philosophy in Early Modern England 154Barbara H. Traister13 Magic and Witchcraft 170Deborah Willis14 Antitheatricality: The Theater as Scourge 182Leah S. MarcusPart II Theater History 19315 Performance: Audiences, Actors, Stage Business 195S. P. Cerasano16 Playhouses 211David Kathman17 Theatrical License and Censorship 225Richard Dutton18 Playing Companies and Repertory 239Roslyn L. Knutson19 Rehearsal and Acting Practice 250Don Weingust20 Boy Companies and Private Theaters 268Michael Shapiro21 Women’s Involvement in Theatrical Production 282Natasha Korda22 “To travayle amongst our frendes”: Touring 296Peter H. Greenfield23 Progresses and Court Entertainments 309R. Malcolm Smuts24 “What revels are in hand?” Performances in the Great Households 322Suzanne Westfall25 Civic Drama 337Lawrence ManleyPart III Genres 35526 Masque 357David Lindley27 The History Play: Shakespeare and Beyond 371Brian Walsh28 Domestic Tragedy: Private Life on the Public Stage 388Lena Cowen Orlin29 Revenge Tragedy 403Marissa Greenberg30 Romance and Tragicomedy 417Jane Hwang Degenhardt and Cyrus MulreadyPart IV Critical Approaches 44131 Sexuality and Queerness on the Early Modern Stage 443Valerie Billing32 Gendering the Stage 456Alison Findlay33 Race and Early Modern Drama 474Mary Floyd‐Wilson34 Staging Disability in Renaissance Drama 487David Houston Wood35 Space and Place 501Adam Zucker36 The Matter of Wit and the Early Modern Stage 513Ian Munro37 Materialisms 529Elizabeth WilliamsonPart V Playwrights, Publishers, and Textual Studies 54338 The Transmission of an English Renaissance Play‐Text 545Grace Ioppolo39 Publishers of Drama 560Tara L. Lyons40 Sidney, Cary, Cavendish: Playwrights of the Printed Page and a Future Stage 576Lara Dodds and Margaret Ferguson41 Nonprofessional Playwrights 598Matteo Pangallo Index 612