We're very pleased to host this guest post from Alexander Thom exploring the trope of banishment in early commercial drama. *** Regarding Shakespeare, James Joyce once wrote, “the note of banishment, banishment from the heart, banishment from home, sounds uninterruptedly”. Certainly, Shakespeare’s plays are littered with conspicuous instances of banishment and a number of his … Continue reading Banishment as a Romance Convention in Early English Drama (c. 1581-1591)
This has been the only full year of our two year research project, and we have been busy. This blog offers a summary of the year's blog activity, from furries to archives, from handwriting competitions to virgin sacrifice. And whatever else you do, do be sure to take our fabulous and not-in-any-way-difficult Christmas quiz. Our … Continue reading A slice of Christmas (b)log
This blog forms part of a series on theatrical words. For the introduction to that series, see our introduction to the thread. It's nearly Christmas, and I'm writing to ask if there might be room for the inns in our accounts of early London playing spaces. When we think of Elizabethan London playhouses, most of … Continue reading Performing words #2: No room in the inns?
During rehearsals for James Wallace’s The Dolphin’s Back production of John Lyly’s The Woman in the Moon (Shakespeare's Globe, Sam Wanamaker Playhouse) back in August 2017, we had time to catch up with a few of the cast members and ask them how it felt to play gods, Nature, men, and women on the Sam Wanamaker stage … Continue reading The Woman in the Moon: Interviews with the Cast
This post explores some of the issues also raised in the various essays in our first project publication, the Forum in Shakespeare Studies 45 (2017). We are grateful to Diana Henderson and James Siemon for allowing us the opportunity to publish these essays in their journal. Do actors act? And what would it mean if … Continue reading Performing words #1: what is an actor?
We recently had a chance to interview Vicky Abbott, the musical lead on Emma Frankland's Galatea project, and we asked her what it was like writing music for a sixteenth-century play in a modern production. We feature here some of Vicky's brilliant recordings (©Vicky Abbott) along with choreographed responses to songs that have been crucial … Continue reading The Sound of Lyly: Galatea Interview
This series of posts explores some of the issues raised in our first project publication, the Forum in Shakespeare Studies 45 (2017) devoted to 1580s drama. We are grateful to Diana Henderson and James Siemon for allowing us the opportunity to publish these essays in their journal. When we think of playhouses, or of theatres (or … Continue reading Performing words: introduction to a new thread on theatre and language
Who visited the Elizabethan playhouses? What did it mean to have non-English characters being played on stage? What does dramatic engagement with issues of immigration, identity, and belonging tell us about sixteenth-century theatre? Earlier this month we tackled these questions at a collaborative workshop hosted by TIDE project, Before Shakespeare and the Dolphin’s Back. This … Continue reading Audiences, Immigration and Belonging in Elizabethan Theatres: Putting the archive into performance
For this week's R&D workshops, Emma Frankland and Mydd Pharo are joined by Kellan Frankland, Krishna Istha, Mzz Kimberley, and Nadia Nadarajah in and around Truro (based at the Hall of Cornwall, thanks to their support) for a week looking at Galatea's Gods and their divine interactions: Neptune, Venus, her son Cupid, and Diana and … Continue reading Galatea in Cornwall: Finding Gods in Truro
On the 19th November 2017, the TIDE project and Before Shakespeare are hosting a workshop exploring the diverse audiences of Elizabethan playhouses and their surrounding neighbourhoods, based at the University of Liverpool’s London campus, 33 Finsbury Square. Working with The Dolphin’s Back, we will be looking at a range of plays, archival documents, diaries, and … Continue reading Audiences, Immigration, and Belonging: Strangers in Finsbury