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
- Introduction
- 113 Robert Greene
- 114 Christopher Marlowe
- 115 Thomas Nashe
- 116 Thomas Kyd
- 117 Richard Tarlton
- 118 George Peele
- 119 John Lyly
- 120 Richard Burbage
- 121 John Heminges and Henry Condell
- 122 Edward Alleyn and Philip Henslowe
- 123 Nathan Field
- 124 William Kemp
- 125 Robert Johnson
- 126 Robert Armin
- 127 Ben Jonson
- 128 John Fletcher
- 129 Thomas Middleton
- 130 John Webster
- Part XIV Shakespeare’s Early Reception (to 1660)
- 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
124 - William Kemp
from Part XIII - Shakespeare’s Fellows
Published online by Cambridge University Press: 17 August 2019
By
Edited by
Edited in association with
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
- Introduction
- 113 Robert Greene
- 114 Christopher Marlowe
- 115 Thomas Nashe
- 116 Thomas Kyd
- 117 Richard Tarlton
- 118 George Peele
- 119 John Lyly
- 120 Richard Burbage
- 121 John Heminges and Henry Condell
- 122 Edward Alleyn and Philip Henslowe
- 123 Nathan Field
- 124 William Kemp
- 125 Robert Johnson
- 126 Robert Armin
- 127 Ben Jonson
- 128 John Fletcher
- 129 Thomas Middleton
- 130 John Webster
- Part XIV Shakespeare’s Early Reception (to 1660)
- 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
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- The Cambridge Guide to the Worlds of Shakespeare , pp. 939 - 942Publisher: Cambridge University PressPrint publication year: 2016
References
Sources cited
Baskerville, Charles Read. The Elizabethan Jig and Related Song Drama. 1929. Rpt. New York: Dover, 1965.Google Scholar
Butler, Martin. “Kemp, William (d. in or after 1610?).” Oxford Dictionary of National Biography. Oxford: Oxford UP, 2004. Online edition, 2011. http://www.oxforddnb.com/view/article/15334. Accessed 13 June 2011.Google Scholar
Duncan-Jones, Katherine. “Shakespeare’s Dancing Fool.” Times Literary Supplement 13 August 2010.Google Scholar
Forrest, John. The History of Morris Dancing, 1458–1750. Toronto: U of Toronto P, 1999.Google Scholar
Hornback, Robert. The English Clown Tradition from the Middle Ages to Shakespeare. Cambridge: D. S. Brewer, 2009.Google Scholar
Johnson, Nora. The Actor as Playwright in Early Modern Drama. Cambridge: Cambridge University Press, 2003.Google Scholar
Kemp, William. Kemps nine daies wonder Performed in a daunce from London to Norwich. London: 1600.Google Scholar
Nungezer, Edwin. A Dictionary of Actors and of other Persons Associated with the Public Representation of Plays in England before 1642. New York: AMS Press, 1929. Rpt. 1971.Google Scholar
Thomson, Peter. “Clowns, Fools and Knaves: Stages in the Evolution of Acting.” Origins to 1660. Ed. Milling, Jane and Thomson, Peter. Cambridge: Cambridge University Press, 2004. Cambridge Histories Online. Cambridge: Cambridge University Press. http://universitypublishingonline.org/cambridge/histories/. Accessed 13 June 2011. DOI:10.1017/CHOL9780521650403.017.Google Scholar
West, William. “When Is the Jig Up – And What Is It Up To?” Locating the Queen’s Men, 1583–1603: Material Practices and Conditions of Playing. Ed. Ostovich, Helen, Syme, Holger Schott, and Griffin, Andrew. Burlington: Ashgate, 2009. 201–16.Google Scholar
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Further reading
Clegg, Roger, and Thomson, Peter. “‘He’s for a jig or a tale of bawdry–’: Notes on the English Dramatic Jig.” Studies in Theatre and Performance 29:1 (February 2009): 67–83.CrossRefGoogle Scholar
Helgerson, Richard. Forms of Nationhood: The Elizabethan Writing of England. Chicago: U of Chicago P, 1992.Google Scholar
Lamb, Mary Ellen. The Popular Culture of Shakespeare, Spenser, and Jonson. London: Routledge, 2006.CrossRefGoogle Scholar
MacLean, Sally Beth. “Tracking Leicester’s Men: The Patronage of a Performance Troupe.” Theatrical Patronage in Early Modern England. Ed. White, Paul Whitfield and Westfall, Suzanne. Cambridge: Cambridge University Press, 2002. 246–71.Google Scholar
Smith, Bruce. The Acoustic World of Early Modern England: Attending to the O-Factor. Chicago: U of Chicago P, 1999.Google Scholar
Weimann, Robert. Shakespeare and the Popular Tradition in the Theater: Studies in the Social Dimension of Dramatic Form and Function. Ed. Schwartz, Robert. Baltimore: Johns Hopkins UP, 1978.CrossRefGoogle Scholar