{"title":"Afterword","authors":"S. Orgel","doi":"10.1086/688686","DOIUrl":"https://doi.org/10.1086/688686","url":null,"abstract":"if modern theater historians had told anyone at the Jacobean or Caroline court, or indeed anywhere in the upper reaches of English society in the late sixteenth and early seventeenth centuries, that English Renaissance theater was a male preserve, they would have found the claim incomprehensible. Troupes that performed publicly employed only male actors, but many court performances, initially of masques, but in the Caroline period of plays too, included women as an essential and often climactic part of the show. In aristocratic venues, women performers were ubiquitous; what were unknown in England until the Caroline era were professional English women performers. Moreover, even at the public theaters, though the actors were male, a large segment of the audience was female. English women went to playhouses alone with only a servant, or with other women, and unmasked, so they were recognizable. For the English, there was nothing surreptitious about women’s participation in theater. To generalize about the early modern stage without taking the audience into account is to ignore reality. By 1629 a French company with actresses could perform publicly in London—this is the visit about which G. E. Bentley claims that they were booed and “pippin-pelted,” but Arthur and Janet Ing Freeman have shown this to be a Collier forgery. In fact, the company played several times at London public theaters without incident; it is only theater history that finds this inconceivable. The essays in this special section offer a European context for the gender tensions of English Renaissance theater. Viewed from this perspective, it is clear that the Elizabethan, Jacobean, and especially the Caroline stage were not at all cut off from the continental theatrical world. Caroline Bicks’s revelatory account of Mary Ward’s “all-female theatricals that were designed to train girls","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"44 1","pages":"269 - 275"},"PeriodicalIF":0.0,"publicationDate":"2016-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/688686","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60605039","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Advent of Women Players and Playwrights in Early Modern France","authors":"P. Gethner, Melinda J. Gough","doi":"10.1086/688689","DOIUrl":"https://doi.org/10.1086/688689","url":null,"abstract":"women’s theatrical participation in early modern France has attracted increased scholarly attention in recent decades. Nonetheless, intersections between women’s separate roles as performers, playwrights, and cultural arbiters have yet to be explored. Nor has much been written about the ways in which French women’s theatrical activities intersected with or diverged from those of their female counterparts in neighboring countries. To begin filling these gaps and in the hope of prompting further work on such questions, this essay considers both the development of mixed-gender troupes in late sixteenthand early seventeenth-century France and women’s contributions to French cultural life as playwrights and as members of salon gatherings. The larger movement toward greater theatrical visibility, agency, and mobility for women that this special section traces in early modern Europe did not develop at the same pace in France, we contend. It was during this period that professional troupes in the provinces and in Paris engaged actresses for the first time, and this was also the era when the first French women are known to have composed for the stage. When compared to other continental locales such as Spain and Italy, however, sixteenth-century France experienced a noticeable delay in the advent of mixed-gender professional troupes. To scholars of early modern drama used to thinking of England’s “all-male stage” as an anomaly, this fact may seem surprising. In seeking to work through this puzzle, though, we have come to the conclusion that this deferral occurred not because the French exhibited more pronounced ideological resistance to theater, to women, or to foreigners than existed in other countries. Rather, the French wars of religion—and related wars of succession—occurred just as humanist drama was","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"44 1","pages":"217 - 232"},"PeriodicalIF":0.0,"publicationDate":"2016-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/688689","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60604690","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“Everyone Breeds in His Own Image”: Staging the Aethiopica across the Channel","authors":"Noémie Ndiaye","doi":"10.1086/688684","DOIUrl":"https://doi.org/10.1086/688684","url":null,"abstract":"for a long time, the third-century romance Aethiopica by Heliodorus of Emesa fell exclusively within the critical purview of novel specialists. Over the last fifteen year, a rich body of scholarship has emerged and shifted attention from the important formal innovations that the discovery of Heliodorus’s romance facilitated to the significance of the Aethiopica’s racial themes for the early modern cultural moment. This recent scholarship has focused, on one hand, on the reception of the Aethiopica in early modern English literature and theater and, on the other hand, on the reception of Heliodoric materials in continental visual culture starting in 1610. The present article means to connect those two discrete lines of critical inquiry by foregrounding a topic that has, to this day, received virtually no attention: stage adaptations of the Aethiopica in early modern France and their transnational influence on English seventeenthcentury theater.","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"44 1","pages":"157 - 185"},"PeriodicalIF":0.0,"publicationDate":"2016-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/688684","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60604985","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Introduction: Gender, Cultural Mobility, and Theater History Inquiry","authors":"Melinda J. Gough, Clare Mcmanus","doi":"10.1086/688687","DOIUrl":"https://doi.org/10.1086/688687","url":null,"abstract":"this series of essays takes as its central focus female theatrical agency in early modern Europe across linguistic and geographic borders, both at the heart of commercial theater in capital cities and in less frequently studied settings such as the convent, the court, and the salon. The four essays that make up this special section address women players, theater managers, and playwrights in Italy, Spain, France, and Bavaria, with a particular eye to their circulation of novel theatrical materials, forms, and practices within and across national theater traditions. These essays discuss mixed-gender as well as singlesex female troupes and consider their imbrication with cross-gender casting involving male actors both on the “all-male English stage” and on the continent. Conversation among contributors to this special section began with a 2015 Modern Language Association (MLA) roundtable on “Worldly Women: Cosmopolitanism and Transnational Female Performance in Early Modern Europe,” sponsored by the Society for the Study of Early Modern Women. The organizers of this session, Melinda Gough and Pamela Allen Brown, opted for a roundtable format with two main goals in mind. First, a typical conference panel structure would limit the session to three speakers, whereas a roundtable would accommodate a larger number of scholars representing fields usually kept separate, thanks to disciplinary distinctions established on the basis of linguistic or geographic focus. Second, the roundtable format would help to facilitate greater cross talk among speakers so that the particular expertise of each participant might be better harnessed toward new, collectively generated insights regarding early modern women’s theatrical participation, agency, resiliency, and movement. During the months that preceded our session, the task of generating “key","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"44 1","pages":"187 - 200"},"PeriodicalIF":0.0,"publicationDate":"2016-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/688687","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60605082","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Legally Bound: Women and Performance in Early Modern Spain","authors":"M. M. Carrión","doi":"10.1086/688690","DOIUrl":"https://doi.org/10.1086/688690","url":null,"abstract":"women were abundantly and significantly present in public events and spaces as well as on theatrical stages in early modern Spain. Conventional wisdom has covered that presence with a veil of male protagonism. However, as the above-cited segment of Lope de Vega’s theatrical manifesto challenged them to do, women rightly negotiated the impossible with the verosímil (truthful imitation) when they appropriated the disfraz varonil (male disguise), and moved center stage in the world of comedia. They did so by be-","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"42 3 1","pages":"233 - 248"},"PeriodicalIF":0.0,"publicationDate":"2016-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/688690","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60605225","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Traveling Diva and Generic Innovation","authors":"P. Brown","doi":"10.1086/688691","DOIUrl":"https://doi.org/10.1086/688691","url":null,"abstract":"the first professional actresses in Italy emerged in sixteenth-century itinerant troupes, enabling an unprecedented period of innovation and geographic expansion by the players now known as the commedia dell’arte. It was not merely the novelty of their gender but the ability of leading actresses to display performative variety and virtuosity that spurred the comici to diversify their menu of tumbling, comedy, and farce and offer up plays in all three Renaissance genres: comedy, tragedy, and pastoral. At a time when few women were literate and even fewer traveled far from home, a few star actresses were extravagantly mobile and literary; some were published poets and others were musical prodigies, and the most gifted became sought-after celebrities. A vibrant new resource in theater of all kinds, the Renaissance actress played a crucial role in the rise of the avant-garde forms of tragicomic pastoral, tragicomedy, and opera. France, Spain, and England also had female perform-","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"44 1","pages":"249 - 267"},"PeriodicalIF":0.0,"publicationDate":"2016-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/688691","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60605302","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Fletcher’s Promiscuous Poetics","authors":"Brian Pietras","doi":"10.1086/685788","DOIUrl":"https://doi.org/10.1086/685788","url":null,"abstract":"these uninspired lines of Petrarchan longing come from John Fletcher’s pastoral tragicomedy The Faithful Shepherdess (ca. 1608)—and, on the whole, they would seem to reaffirm the generally bad opinion critics have had of the play since its first, disastrous staging in the early seventeenth century. In their prefatory poems to the first edition, Ben Jonson, George Chapman, and Francis Beaumont all defended Fletcher’s play as too elegant and refined for the vulgar, illiterate, play-going rabble; it was (they assured him) “both a Poeme and a play,” a maligned masterpiece of “innocent","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"44 1","pages":"53 - 72"},"PeriodicalIF":0.0,"publicationDate":"2016-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/685788","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60508912","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Dramaturgy and the Politics of Space in The Tragedy of Mariam","authors":"M. Dowd","doi":"10.1086/685787","DOIUrl":"https://doi.org/10.1086/685787","url":null,"abstract":"e lizabeth Cary’s The Tragedy of Mariam (1613) has long been noted for its elusive dramatic structure: it is a play that evades any clear sense of distinction between stage and closet, public and private, theatrical and untheatrical. On the one hand, Mariam is categorized as a closet drama—a term that has itself been subject to a great deal of critical scrutiny—and, as such, it has often been understood as primarily a reading text and, thus, as untheatrical, self-consciously removed from the life of the public theaters. On the other hand, as Jonas Barish noted over two decades ago, this is not quite the entire story. Compared with contemporary closet plays by Fulke Greville, Samuel Daniel, and others, Mariam “in both its plotting and its language . . . approximates most closely the plays of the public theatre.” Barish, indeed, calls the play an “oddity” within the closet drama tradition. More recently, critics have developed and extended Barish’s insight by drawing attention to the ways in","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"44 1","pages":"101 - 122"},"PeriodicalIF":0.0,"publicationDate":"2016-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/685787","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60509131","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Getting Used, and Liking It: Erotic Instrumentality in Philaster","authors":"Christine Varnado","doi":"10.1086/685785","DOIUrl":"https://doi.org/10.1086/685785","url":null,"abstract":"in Francis Beaumont and John Fletcher’s tragicomedy Philaster, Or Love Lies A-Bleeding (1609), the couple at the center of the romance plot cannot do it alone. The Princess Arethusa loves Philaster, the beautiful and beloved Prince of a neighboring kingdom. Philaster loves her as well, but her tyrannical father has usurped Philaster’s throne and promised Arethusa in marriage to a boorish foreign prince, forcing the lovers to conduct their secret love under the watchful eyes of the court. The two lovers need, commission, and use a third party to negotiate the social, affective, and erotic demands of their prohibited love match. The messenger who serves as a conduit for their love is an ambiguously gendered transvestite: the beautiful servant “boy” who is secretly a girl, Bellario (or, as he/she is ultimately renamed, “Euphrasia”). Early on in the play, Arethusa asks her exiled lover how they will communicate, how they can “devise / To hold intelligence” between them. Philaster suggests, as a solution, the use of his secret servant “boy” as a message-bearer:","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"44 1","pages":"25 - 52"},"PeriodicalIF":0.0,"publicationDate":"2016-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/685785","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60509026","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“Shall we playe the good girles”: Playing Girls, Performing Girlhood on Early Modern Stages","authors":"Edel Lamb","doi":"10.1086/685786","DOIUrl":"https://doi.org/10.1086/685786","url":null,"abstract":"This essay investigates the extent to which girlhood functions as a queer category in two theatrical representations of schoolgirls in early seventeenth-century England. It focuses on the depictions of schoolgirls in the anonymous The Wit of a Woman (1604), written for the all-male stage of the professional theatre, and in Robert White’s masque, Cupid’s Banishment (1617), performed by the young Ladies of Deptford Hall before Queen Anna of Denmark, to examine the intersections of age, gender, sexuality and education in early modern concepts of girlhood. Situating these plays within wider debates about female education and the history of the contested role of performance in the schooling of early modern girls, it argues that they deploy the category of girlhood to demonstrate the subversive potential of educating girls. Yet, this essay proposes, these plays simultaneously reveal the potential agency of young women who manipulate girlhood to claim their distinct sexual, aged and gendered states as girls. It argues that early modern girlhood is a state that might be performed by young women to disrupt normative expectations of feminine behaviour and desire. Placing dramatic representations of schoolgirls and the experiences of schoolgirls on the early modern stage side by side, this essay demonstrates that the schoolroom and performance are sites in which this transgressive potential is realised.","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"44 1","pages":"73 - 100"},"PeriodicalIF":0.0,"publicationDate":"2016-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/685786","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60509105","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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