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Full-Text Articles in Arts and Humanities
Dancing In The Shadows: Ritual, Drama And The Performance Of Baptisms In The Digby Conversion Of St. Paul And Philip Massinger’S The Renegado., Matthew C. Hansen
Dancing In The Shadows: Ritual, Drama And The Performance Of Baptisms In The Digby Conversion Of St. Paul And Philip Massinger’S The Renegado., Matthew C. Hansen
Quidditas
The anonymous Digby Conversion of St. Paul aims at historical verisimilitude in order to distance the on-stage baptism the play contains from the rite as performed in early sixteenth-century English churches. Philip Massinger’s The Renegado (published 1624), presenting the conversion and baptism of a Muslim woman, employs specific details to establish the baptism performed on stage as a rite that, while efficacious within the contexts of the play, is markedly different in substantive performance than the form of baptism presented in the 1559 Book of Common Prayer. Both plays frame the dramatically significant and sensitive performance of the religious rite …
The Italian, Spanish, And English Fencing Schools In Shakespeare’S England, Stewart Hawley
The Italian, Spanish, And English Fencing Schools In Shakespeare’S England, Stewart Hawley
Quidditas
Three styles of fencing are were taught in England during the Elizabethan era: Italian, Spanish, and English. Non-historical plays of the Elizabethan period are examined to consider what style of fencing was used on stage, and perhaps taught to the actors in plays such as Romeo and Juliet, Hamlet, and others. Historically, scholars have chosen to argue that actors of this period were taught an Italian or Spanish style of fencing, often glossing over the English style. I argue that the unique English style of fencing was probably taught to Elizabethan actors. Showing that these three fencing styles have distinct …
Meter Change As A Relic Of Performance In The Middle English Romance Sir Beues, Linda Marie Zaerr
Meter Change As A Relic Of Performance In The Middle English Romance Sir Beues, Linda Marie Zaerr
Quidditas
Despite the paucity of direct evidence of performance, some form of public representation of the Middle English popular verse romances remains a possibility, and that possibility has been reached by extrapolation from a number of directions. The convergence of evidence, though indirect, has become convincing, and a new approach strengthens that likelihood even further. In an attempt to understand if and how the romances were performed, scholars have considered internal references to performance, historical documents of performance and audience, physical evidence from the manuscripts, cognitive theory, theory of orality and “mouvance,” and evidence from textual variants.