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European Theatre Performance Practice, 1400-1580 book cover

1st Edition

European Theatre Performance Practice, 1400-1580

Edited By Katie Normington, Philip Butterworth Copyright 2014
    584 Pages
    by Routledge

    578 Pages
    by Routledge
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    This volume brings together important records of medieval theatre practice between 1400 and 1580. The records are drawn from a wide range of spheres including civic, ecclesiastical, trade and guild records and consist of payments for materials, techniques and services; also included are some eye witness accounts. Alongside these records is a selection of the best contemporary research conducted into medieval performance practice, which features ground-breaking analysis and challenges current understanding, knowledge and authority in this field. These contributions of rigorous scholarship complement and support the work of the well-known Records of Early English Drama project and help to further illuminate contemporary fifteenth and early sixteenth-century theatre performance practice.

    Contents: Introduction; Part I Records: St John’s College register of inventories (1548-9), Trinity College Inventory (1550), Alan H. Nelson; Cordwainers’ and shoemakers’ accounts (1549-50), Smiths’, cutlers’, and plumbers’ accounts (1560-61), Bowyers’, fletchers’, coopers’, and stringers’ accounts (1571), Painters’, glaziers’, embroiderers’, and stationers’ accounts (1571), Elizabeth Baldwin, Lawrence M. Clopper and David Mills; Cappers’ records (1540), Drapers’ accounts (1563), Smiths’ accounts (1584), R.W. Ingram; Corporation chamberlains’ accounts (1573-4) (Elizabeth’s visit), Willis’ description of a play at Gloucester (1570s), Audrey Douglas and Peter Greenfield; Chamberlains’ accounts (New Romney, 1483-6 and 1560-61), James M. Gibson; Grocers’ Guild records (1564-5), David Galloway; Mercers’ pageant documents (1433) (indenture), Mercers’ pageant documents (1461) (expenses), Alexandra F. Johnston and Margaret Rogerson; Of perspective, Sebastiano Serlio; Third dialogue, Leoni di Somi. Part II Pageant Vehicle Staging: The York Mercers and their pageant of Doomsday, 1433-1526, Alexandra F. Johnston and Margaret (Dorrell) Rogerson; The development of the York Mercers’ pageant waggon, Peter Meredith; The manner of these playes, John Marshall; The Coventry pageant waggon, Reg Ingram. Part III Other Forms of Staging: Criteria for a popular repertory, David Bevington; La festa d’Elx: the Festival of the Assumption of the Virgin, Elche (Alicante), Pamela M. King and Asunción Salvador-Rabaza; Drama and the city: city parades, Katie Normington; Moving encounters: choreographing stage and spectators in urban theatre and pageantry, Tom Pettitt. Part IV Costume, Mask and Stage Effects: Apparell comlye, Meg Twycross; Gunnepowdyr, fyre and thondyr, Philip Butterworth; Mystery plays, Meg Twycross and Sarah Carpenter; Magic through sound: illusion, deception and agreed pretence, Philip Butterworth. Part V Playing: ’Look at

    Biography

    Philip Butterworth is Visiting Research Fellow at the Institute for Medieval Studies, University of Leeds, UK. Katie Normington is Professor of Drama and Dean of Arts and Social Science at Royal Holloway, University of London, UK.

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