PROJECT POSTS
Beginning Before Shakespeare: First Post
Putting the Shh into Shakespeare
The Story So Far: First Advisory Board
Birthday Post: A Year of Before Shakespeare
The Summer of Love (and Fortune): Our Upcoming Events…
A slice of Christmas (b)log [end-of-year recap 2017]
Christmas, Newyeares tyde: A summary of works done and attendance given, 2018 [full project recap]
HISTORY AND ARCHIVES
Earthquakes at the Curtain playhouse
An Elizabethan Haunting: Antitheatricality and Playgoing
Early Thoughts on the Archives
“Specially youthe”: Regulating London “Venues”
The Before Shakespeare Guide to the Elizabethan East End
“Rent must be paid, duties dischargd”: A Note on Elizabethan Landlords
Post from the Past 1: Spying the Playhouses
Post from the Past 2: A Week in the Life of William Fleetwood
Genre and the Elizabethan Troupe
Two City Stories: Mawdlen Gawen and Mrs Moodey
High and Dry at Newington Butts: The Genesis of the Permanent Playhouse
Lawsuits and Leases at Newington Butts Playhouse
Putting the might into Marlowe’s (and Nashe’s) mighty line
Audiences, Immigration, and Belonging: Strangers in Finsbury
Audiences, Immigration, and Belonging in Elizabethan theatres: putting the archive into performance
Banishment as romance convention in Early English Drama (c.1581-91)
The First Blackfriars Playhouse (1576-84): Ownership, Repertoire, Audience
Performing words: introduction to a new thread on theatre and language
Performing words #1: what is an actor?
Performing words #2: No room in the inns?
Performing words #3: thus and thus
Performing words #7: permanent
Performing words #8: playhouse
Losing the Plot: Audiences, Scraps of Performance, and Selective Participation
The Curtain Rises: Diverse Histories at the Curtain Playhouse
The Curtain Rises: Post Match Report
The Before Shakespeare Guide to [The] Theatre Etiquette
Before Shakespeare at The National Archives
Resurrecting All Hallows and Reanimating Henry Walton
COMMENT, ACADEMIA, DISCIPLINES, THEATRE HISTORY
Shakespeare: A knack for following theatrical fashion
Announcing the launch of REED Online
Let me speak to you about my huge words
Shakespeare in Scraps: Halliwell-Phillipps and Theatre History
‘barren of all interpretative comment’
Go dare; or, how scholarship lost the plot
Relearning how to learn: potential ideas for scholarly debate
Attribution, agencies, and investigation
Authorship studies: where have we got to, and where are we going?
Galatea, BritGrad and diverse alarums
Engendering Before Shakespeare: Women and Early English Playhouse Ownership
PERFORMANCE
Before Shakespeare in Performance
The Three Ladies of London and Red Lion workshop, 22 January 2017
Before Conference: (and The Woman in the Moon)
The Woman in the Moon: Interviews with the Cast
“Fly me to the moon!” (Guest post by Perry Mills, Edward’s Boys)
The First Blackfriars: A Workshop Reflection
“I do fear the people”: theatre and the problem with audiences
The Woman in the Moon: In Conversation with Edward’s Boys
The Curtain Rises: Post Match Report
Rattling Bloody Facts; or, why Tamburlaine would make a rubbish boyfriend
Tudor Drama in Modern Performance (Guest post by Emma Whipday and Jessica Winston)
CONFERENCE
Before Conference: (and The Woman in the Moon)
Panel: Theatre History 1: Texts and Places
Panel: Theatre History 2: Geographies and People
Panel: Theatre History 3: Metre and Repertory
Response: After Before Shakespeare by Eoin Price
Response: Of God and Jonson: writing about new things and non-events by Mathew Lyons
Response: Reflections on the Before Shakespeare conference by Stephen Purcell
GALATEA
Interviewing Angela and Selina
Interview with Becky and Krishna
Interview with Antonia and Steve
Getting Mortal in St Austell: Galatea in Cornwall 1
Finding Gods in Truro: Galatea in Cornwall 2
