Writing performance: How to Elegize Elizabethan actors

Shakespeare Survey

Volumn , Issue 58, 2005, Pages 60-71

  Döring, Tobias ^a  

^a NONE

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EID: 62449127712     PISSN: 00809152     EISSN: None     Source Type: Book Series    
DOI: 10.1017/ccol0521850746.007     Document Type: Article

References (31)

1. Shakespearian texts are cited according to The Norton Shakespeare, based on the Oxford Edition, eds. Stephen Greenblatt, Walter Cohen, Jean E. Howard, Katharine Eisaman Maus (New York, 1997)
2. Glynne Wickham, Herbert Berry, William Ingram, eds., English Professional Theatre, 1530-1660 (Cambridge, 2000), p. 166
3. George Puttenham, The Art of English Poesy (London, 1589), p. 45
4. Joshua Scodel, The English Poetic Epitaph: Commemoration and Conflict from Jonson to Wordsworth (Ithaca, 1991), p. 50
5. Puttenham, English Poesy, p. 39
6. Dennis Kay, Melodious Tears: The English Funeral Elegy from Spenser to Milton (Oxford, 1990), p. 12
7. W. B. Worthen, Shakespeare and the Authority of Performance (Cambridge, 1997), p, 3
8. Kay, Melodious Tears, p. 5
9. Peter M. Sacks, The English Elegy: Studies in the Genre from Spenser to Yeats (Baltimore, 1985)
10. Wickham et al., Professional Theatre, p. 176
11. The Selected Plays of Philip Massinger, ed. Colin Gibson (Cambridge, 1978), 1.1.31-2
12. My main source for all of them is Edward Nungezer, A Dictionary of Actors and of Other Persons Associated with the Public Representation of Plays in England before 1642 (New Haven, Oxford, 1929)
13. Nungezer, Dictionary, p. 222
14. and Alan and Veronica Palmer, Who's Who in Shakespeare's England (London, 2000), p. 248
15. Robert Weimann, Author's Pen and Actor's Voice: Playing and Writing in Shakespeare's Theatre (Cambridge, 2000), p. 22
16. See Michael Neill, Issues of Death: Mortality and Identity in English Renaissance Tragedy (Oxford, 1997), p. 234
17. Ben Jonson, Poems, ed. Ian Donaldson (Oxford, 1975), p. 46
18. See Jonas Barish, The Anti-Theatrical Prejudice (Berkeley, 1981), pp. 132-55
19. 'To Mr. Ben Johnson demanding the reason/ Why he call'd his playes works. / Pray tell me Ben, where doth the mystery lurke, / What others call a play you call a worke', quoted in Douglas A. Brooks, From Playhouse to Printing House: Drama and Authorship in Early Modern England (Cambridge, 2000), p. 136
20. Brooks, From Playhouse to Printing House, pp. 112-13
21. The elegy survives in 82, 86 or 124 lines. The two shorter versions are generally taken to be genuine, whereas the long version attributes to Burbage several parts in plays which belonged to other companies. For a more detailed discussion of this point, see Clement Mansfield Ingleby, Shakespeare, the Man and the Book (London, 1877), p. 180
22. See Meredith Ann Skura, Shakespeare the Actor and the Purposes of Playing (Chicago, 1993), p. 214
23. See Thomas Nash, Pierce Penniless his Supplication to the Devil, ed. Stanley Wells (London, 1964), pp. 64-5
24. Drew Milne, 'What Becomes of the Broken-Hearted: King Lear and the Dissociation of Sensibility', Shakespeare Survey 55 (Cambridge, 2002), p. 57
25. Wickham et al., English Professional Theatre, p. 187
26. Ann Rosalind Jones, Peter Stallybrass, Renaissance Clothing and the Materials of Memory (Cambridge, 2000), p. 177
27. Tiffany Stern makes the same point about John Lowen and Joseph Taylor as heirs to Burbage's parts, Making Shakespeare: From Stage to Page (London, New York, 2004), p. 72
28. Sacks, English Elegy, p. 18
29. W. David Shaw, Elegy and Paradox: Texting the Conventions (Baltimore, 1994), p. 8
30. Worthen, Shakespeare and the Authority of Performance, p. 24
31. Johannes Fabian, 'Theatre and Anthropology, Theatricality and Culture', in The Performance Studies Reader, ed. Henry Bial (London, New York, 2004), p. 179