Book contents
- The Cambridge Guide to the Worlds of Shakespeare
- Frontispiece
- Frontispiece
- The Cambridge Guide to the Worlds of Shakespeare
- Worlds of Shakespeare
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Abbreviations
- Part I Mapping Shakespeare’s World
- Part II Theater
- Part III Language
- Part IV Science and Technology
- Part V Printing, Publishing, Textuality
- Part VI Visual Arts
- Part VII Popular Culture
- Part VIII High Culture
- Part IX England, 1560–1650
- Part X Religion
- Part XI Medicine
- Part XII The Historical William Shakespeare
- Part XIII Shakespeare’s Fellows
- Part XIV Shakespeare’s Early Reception (to 1660)
- Introduction
- 131 Manuscripts Containing Texts by Shakespeare
- 132 Allusions
- 133 Shakespeare and Company in Court Records
- 134 Experiences of Performance: Firsthand Accounts of Theater
- 135 Scandals: Essex, Cobham, and Others
- 136 Shakespeare and Renaissance Aesthetics
- 137 Shakespeare’s Early Reception in Europe
- Part XV International Encounters
- Part XVI Making the Scene
- Part XVII Shakespeare as Cultural Icon
- Part XVIII Shakespeare and Popular Culture
- Part XIX Translation
- Part XX Changing Technologies of Stage Performance
- Part XXI Audiences
- Part XXII Production History
- Part XXIII Printing and Reception History
- Part XXIV Shakespeare and the Book
- Part XXV Shakespeare and the Critics
- Part XXVI Shakespeare and the Performing Arts
- Part XXVII Shakespeare and the Visual Arts
- Part XXVIII Shakespeare and Media History
- Index
- References
134 - Experiences of Performance: Firsthand Accounts of Theater
from Part XIV - Shakespeare’s Early Reception (to 1660)
Published online by Cambridge University Press: 17 August 2019
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Edited by
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Book contents
- The Cambridge Guide to the Worlds of Shakespeare
- Frontispiece
- Frontispiece
- The Cambridge Guide to the Worlds of Shakespeare
- Worlds of Shakespeare
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Abbreviations
- Part I Mapping Shakespeare’s World
- Part II Theater
- Part III Language
- Part IV Science and Technology
- Part V Printing, Publishing, Textuality
- Part VI Visual Arts
- Part VII Popular Culture
- Part VIII High Culture
- Part IX England, 1560–1650
- Part X Religion
- Part XI Medicine
- Part XII The Historical William Shakespeare
- Part XIII Shakespeare’s Fellows
- Part XIV Shakespeare’s Early Reception (to 1660)
- Introduction
- 131 Manuscripts Containing Texts by Shakespeare
- 132 Allusions
- 133 Shakespeare and Company in Court Records
- 134 Experiences of Performance: Firsthand Accounts of Theater
- 135 Scandals: Essex, Cobham, and Others
- 136 Shakespeare and Renaissance Aesthetics
- 137 Shakespeare’s Early Reception in Europe
- Part XV International Encounters
- Part XVI Making the Scene
- Part XVII Shakespeare as Cultural Icon
- Part XVIII Shakespeare and Popular Culture
- Part XIX Translation
- Part XX Changing Technologies of Stage Performance
- Part XXI Audiences
- Part XXII Production History
- Part XXIII Printing and Reception History
- Part XXIV Shakespeare and the Book
- Part XXV Shakespeare and the Critics
- Part XXVI Shakespeare and the Performing Arts
- Part XXVII Shakespeare and the Visual Arts
- Part XXVIII Shakespeare and Media History
- Index
- References
Summary
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Keywords
BanksideBear GardenBlackfriars (playhouse)Cockpit (playhouse), Curtain (playhouse)eyewitness accountFortune (playhouse)Globe (playhouse)Hampton CourtHope (playhouse)illustrationsKing’s MenLongleat HouseLord Chamberlain’s MenMiddle TempleperformancePhoenix (playhouse)printing pressRose (playhouse)Speculum BritanniaeSurvey of LondonSwan (playhouse)Theatre (playhouse)
- Type
- Chapter
- Information
- The Cambridge Guide to the Worlds of Shakespeare , pp. 1009 - 1015Publisher: Cambridge University PressPrint publication year: 2016
References
Sources cited
Beaumont, Francis. The Knight of the Burning Pestle. The Dramatic Works of the Beaumont and Fletcher Canon. Ed. Bowers, Fredson. 10 vols. Cambridge: Cambridge University Press, 1966. 1: 3–110.Google Scholar
Chambers, E. K. William Shakespeare: A Study of Facts and Problems. 2 vols. Oxford: Clarendon, 1930.Google Scholar
Foakes, R. A. Illustrations of the English Stage, 1580–1642. Stanford: Stanford UP, 1985.Google Scholar
Graves, R. B. Lighting the Shakespearean Stage, 1567–1642. Carbondale: Southern Illinois UP, 1999.Google Scholar
Gurr, Andrew. Playgoing in Shakespeare’s London. Cambridge: Cambridge University Press, 1996.Google Scholar
Levin, Richard. “The Longleat Manuscript and Titus Andronicus.” Shakespeare Quarterly 53.3 (2002): 323–40.CrossRefGoogle Scholar
Middleton, Thomas. The Puritan. Thomas Middleton: The Collected Works. Ed. Taylor, Gary and Lavagnino, John. Oxford: Clarendon, 2007. 509–42.Google Scholar
Salgado, Gamini. Eyewitnesses of Shakespeare: First Hand Accounts of Performances, 1590–1890. London: Sussex UP, 1975.Google Scholar
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Further reading
Bourne, Claire M. L. “‘High Designe’: Beaumont and Fletcher Illustrated.” English Literary Renaissance 44.2 (2014): 275–327.Google Scholar
Crosbie, Christopher. “The Longleat Manuscript Reconsidered: Shakespeare and the Sword of Lath.” English Literary Renaissance 44.2 (2014): 221–40.Google Scholar
Jakacki, Diane K. “‘Canst Paint a Doleful Cry?’: Promotion and Performance in the Spanish Tragedy Title-Page Illustration.” Early Theatre 13.1 (2010): 13–36.Google Scholar
Womack, Peter. “Nobody, Somebody and King Lear.” New Theatre Quarterly 23 (2007): 195–207.CrossRefGoogle Scholar