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We're keen to keep this site lively and fresh with some of the latest thoughts and research--either road-testing ideas and works-in-progress or sharing some insights--from early theatre and performance. Content from doctoral researchers and early career colleagues are especially welcome, as well as from performers and practitioners!

Looking to escape the 2020s for a brief period?  Wondering what alternatives you might find to a Christmas pantomime if you were in a different century?  Or simply looking to sharpen up your Trivial Pursuit knowledge (with extremely niche facts…)?

 

This is just a short note to let you know that members of the Before Shakespeare team have set up a YouTube channel seeking to provide a space for fun, relaxed and silly conversations about scholarship and creativity.

This post also appears on The National Archives blog.  

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 in pre-1590s drama.

By way of a sequel to Callan’s recent post about J.O. Halliwell-Phillips and the place of the fragment, excerpt and ‘scrap’ in theatre history, I want to introduce here another model for doing theatre history and to think about what happens if we don’t excerpt but attempt to present complete sets of documents.