Early Performance: Courts and Audiences by Carpenter, Sarah; McGavin, John J; Walker, Greg;

Shifting Paradigms in Early English Drama Studies

Series: Variorum Collected Studies;

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Product details:

Edition number 1
Publisher Routledge
Date of Publication 29 April 2022

ISBN 9780367517236
Binding Paperback
No. of pages242 pages
Size 234x156 mm
Weight 362 g
Language English
Illustrations 1 Illustrations, black & white; 1 Halftones, black & white

Short description:

These essays of Sarah Carpenter have been selected to reflect her career’s close focus on the relationship of performance and audience. They are drawn from the last 25 years of her writing.

Long description:

These essays of Sarah Carpenter have been selected to reflect her career’s close focus on the relationship of performance and audience. They are drawn from the last 25 years of her writing, and this has enabled the editors to organise them not chronologically but rather to develop her central theme through a range of genres, including morality plays, the interlude, court entertainments, international political spectacle, and the public ‘performances’ of natural and maintained fools. As a scholar who also has experience of acting and of production, Carpenter is particularly sensitive to the implications of location for creating meaning and generating audience reaction. The essays are focused on a relatively short time-span of 120 years, from the late fifteenth to the turn of the seventeenth century, and thus nuance a period traditionally divided between the late medieval and the early-modern, and between Catholicism and Protestantism. Carpenter shows how the dynamics of theatrical engagement in which the roles of audience and performer are frequently mixed or even reversed offer a more creative route to understanding how the individual and society respond to change. (CS1090)

Introduction by John J McGavin and Greg Walker; PART I Courts; 1 Plays and playcoats: a courtly interlude tradition in Scotland?, Comparative Drama, 46:4 (2012), pp. 475–96; 2 ‘To thexaltacyon of noblesse’: a herald’s account of the marriage of Margaret Tudor and James IV, Medieval English Theatre, 29 (2009 for 2007), pp. 104–20; 3 ‘Gely wyth tharmys of Scotland England’: word, image and performance at the marriage of James IV and Margaret Tudor, in ‘Fresche Fontanis’: Studies in the Culture of Medieval and Early Modern Scotland, ed. by Janet Hadley Williams and J. Derrick McClure (Newcastle: Cambridge Scholars Press, 2013), pp. 165–77. Published with the permission of Cambridge Scholars Publishing; 4 (with Graham Runnalls), The Entertainments at the marriage of Mary Queen of Scots and the French Dauphin François, 1558: Paris and Edinburgh, Medieval English Theatre, 22 (2000), pp. 145–61 [with thanks to Mrs Anne Runnalls]; 5 Performing diplomacies: the 1560s court entertainments of Mary Queen of Scots, Scottish Historical Review, LXXXII: 2 (October 2003), pp. 194–225. Reproduced with permission of the Licensor through PLSclear; 6 Love and chastity: political performance in Scottish, French, and English courts of the 1560s, in Joyous Sweit Imaginatioun: Essays in Honour of Professor R.D.S. Jack, ed. by Sarah Carpenter and Sarah Dunnigan, SCROLL (Amsterdam and New York: Rodopi, 2007), pp. 111–28; 7 Dramatising Ideology: Monarch, State, and People, Theta, 9 (2011), pp. 95–112; PART II Audiences; 8 New evidence: Vives and audience-response to biblical drama, Medieval English Theatre, 31 (2011 for 2009), pp. 3–12; 9 Verity’s Bible: books, texts, and reading in Ane Satyre of the Thrie Estaitis, Medieval English Theatre, 33 (2011), pp. 58–74; 10 Towards a reformed theatre: David Lyndsay and Ane Satyre of the Thrie Estaitis, The Yearbook of English Studies, 43 (2013), pp. 203–22. Reproduced by permission of the Modern Humanities Research Association; 11 The sixteenth-century court audience: performers and spectators, Medieval English Theatre, 19 (1997), pp. 3–14; 12 ‘My Lady Tongue’: Thomas Tomkis’s Lingua, Medieval English Theatre, 24 (2002), pp. 3–14; 13 The politics of unreason: Ane Satyre of the Thrie Estaitis and the practices of folly, Theta, 10 (2013), pp. 35–52; 14 Laughing at natural fools, Theta, 11 (2014) pp. 3–22; 15 The places of foolery: Robert Armin and fooling in Edinburgh, Medieval English Theatre, 37 (2015), pp. 11–26.