Performing words #7: permanent

I'm afraid this blog post will seem especially pedantic and churlish, because it is about the unexpected embedding of a strange word in conversations about early modern theatre history: the word 'permanent'. Theatre history tends to distinguish between playhouses it considers permanent, and those it considers impermanent, despite the fact that no Elizabethan, Jacobean or … Continue reading Performing words #7: permanent

Authorship studies: where have we got to, and where are we going?

We've been talking about authorship and the way we study it so much on this blog that I've taken a moment to think aloud about where we've got to as a discipline. This post is unusually scholar-facing for me, both in the sense that it's about scholarship and it’s aimed at my colleagues, and it … Continue reading Authorship studies: where have we got to, and where are we going?

‘I do fear the people’: theatre and the problem with audiences

I had the enormous privilege of seeing Julius Caesar last night at London's newest theatre. It's one of the greatest Shakespeare productions I've ever seen: visceral, violently physical, exuberantly political but also jewelled with exquisite details. A few newspaper reviews have said that because the show is loud and frenetic it is therefore not terribly subtle. They … Continue reading ‘I do fear the people’: theatre and the problem with audiences

Performing words #3: thus and thus

This post is part of a series on theatrical words. For an introduction to the series, see Performing words: introduction to a new thread on theatre and language. This particular post makes available Andy Kesson's paper for Miranda Fay Thomas and Evelyn Tribble's Shakespeare Association of America seminar on gesture. Andy would like to thank his seminar … Continue reading Performing words #3: thus and thus

Audiences, Immigration, and Belonging: Strangers in Finsbury

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

Putting the might into Marlowe’s (and Nashe’s) mighty line

I was lucky enough to work with Kimberley Sykes' Dido, Queen of Carthage company this week. They'll be performing at the RSC September to October 2017 in what looks set to be something very special. Working with actors is deeply embedded in my own practice as someone working on the early London playhouses; I'm always … Continue reading Putting the might into Marlowe’s (and Nashe’s) mighty line