Skip to main content
×
×
Home
The Cambridge History of British Theatre
  • Get access
    Check if you have access via personal or institutional login
  • Cited by 1
  • Cited by
    This (lowercase (translateProductType product.productType)) has been cited by the following publications. This list is generated based on data provided by CrossRef.

    Daniels, Stephen and Veale, Lucy 2015. Revealing Repton: bringing landscape to life at Sheringham Park. Landscape Research, Vol. 40, Issue. 1, p. 5.


    ×
  • Export citation
  • Recommend to librarian
  • Recommend this book

    Email your librarian or administrator to recommend adding this book to your organisation's collection.

    The Cambridge History of British Theatre
    • Online ISBN: 9781139054058
    • Book DOI: https://doi.org/10.1017/CHOL9780521650403
    Please enter your name
    Please enter a valid email address
    Who would you like to send this to *
    ×
  • Buy the print book

Book description

Volume 1 of The Cambridge History of British Theatre begins in Roman Britain and ends with Charles II's restoration to the throne imminent. The four essays in Part I treat pre-Elizabethan theatre, the eight in Part II focus on the riches of the Elizabethan era, and the seven in Part III on theatrical developments during and after the reigns of James I and Charles I. The essays are written for the general reader by leading British and American scholars, who combine an interest in the written drama with an understanding of the material conditions of the evolving professional theatre which the drama helped to sustain, often enough against formidable odds. The volume unfolds a story of enterprise, innovation and, sometimes, of desperate survival over years in which theatre and drama were necessarily embroiled in the politics of everyday life: a vivid subject vividly presented.

Reviews

‘A valuable contribution to scholarship through nineteen fine essays.'

Source: Sixteenth Century Journal

‘This work makes delightful reading.'

Frederick Tollini Source: Renaissance Quarterly

'… a set that will stand as the most valuable resource on British theater for some time to come. Essential.'

Source: Choice

'… exceptional … destined to prove one of the most erudite, and yet accessible, resources for theatre scholars and students as well as serious theatre practitioners … must be hailed as perhaps the most carefully compiled and comprehensively covered history ever attempted … I know of no library that has any other theatre history (focusing exclusively on British Theatre) on its shelves to challenge this great new work's pole position in the theatre reference stakes … All in all a great work.'

Source: Amateur Stage

Refine List
Actions for selected content:
Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Send to Kindle
  • Send to Dropbox
  • Send to Google Drive
  • Send content to

    To send content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to .

    To send content items to your Kindle, first ensure no-reply@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about sending to your Kindle.

    Note you can select to send to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be sent to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

    Find out more about the Kindle Personal Document Service.

    Please be advised that item(s) you selected are not available.
    You are about to send
    ×

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
×
  • 1 - From Roman to Renaissance in drama and theatre
    pp 1-69
  • https://doi.org/10.1017/CHOL9780521650403.002
  • View abstract
    Summary
    Today, the rise and fall of the phantom Roman Empire and its cultural dominion seem far-off events in a sequence hard to imagine, hard to suggest as even tangentially important to a modern history of British theatre. With the single blink of an eye, a contemporary theatre aficionado with interests in scripts, stages and costumes might quickly bypass whole centuries of Roman invasion, occupation and cultural colonialism. Theatres in the towns of Britannia like Verulamium provided sites for entertaining the well-to-do crowd and they also provided a home for communal gatherings of all kinds. In ancient Rome and its provinces, theatres were used for a number of purposes, some of the earliest ones clearly religious. Twenty-first-century theatre historians face a similar challenge in dealing with medieval drama at a time in history when religious faith is suspect in public ceremony and certainly abandoned on stage.
  • 2 - Faith, pastime, performance and drama in Scotland to 1603
    pp 70-86
  • https://doi.org/10.1017/CHOL9780521650403.003
  • View abstract
    Summary
    From the fifteenth century, the major Scottish towns enjoyed a rich diet of both processional and static events involving theatrical elements in tableau or scripted form at Corpus Christi. Particularly in the poetry of Dunbar, but also in the 'Christis Kirk' genre, and Gavin Douglas's The Palice of Honour, one can find direct references to play events and descriptions of them, together with allusions, echoes, satires, imitations and evocations of the world of play. A visual imagination which draws poetic and theatrical traditions together shows up in the penchant for set-piece scenes of observed and interpreted spectacle in non-dramatic Scots writing of the fifteenth and sixteenth centuries. This cross-fertilisation of poetry and play goes some way to compensate for the country's lack of playtexts, but it also creates an impression of Scottish cultural homogeneity centred on pastime, performance and drama.
  • 3 - The Bible as play in Reformation England
    pp 87-115
  • https://doi.org/10.1017/CHOL9780521650403.004
  • View abstract
    Summary
    One might suppose that the rise in Bible reading and the literacy it engendered during the English Reformation rendered obsolete the demand for popularly produced biblical plays. For centuries such plays had been among the few means by which the general populace learned about the Bible and its stories, the Catholic Church having restricted reading it to those who knew Latin. In tracing the history of biblical drama in Reformation England to about 1580, this chapter discusses the attitudes and policies of early Tudor Protestant authorities on drama, which favoured the treatment of biblical subjects. The chapter considers the scriptural drama of the early Reformation, centring on the plays of its most original and influential figure, John Bale. It focuses on representative biblical plays of different auspices: Mary Magdalene as a typical professional-troupe interlude; Jacob and Esau as exemplary of school drama; Ezechias as illustrating both court and university drama.
  • 4 - Drama in 1553: continuity and change
    pp 116-136
  • https://doi.org/10.1017/CHOL9780521650403.005
  • View abstract
    Summary
    Schools and universities were very active in 1553 in promoting dramatic activities. Drama offered training in a number of ways. It helped with public speaking and the art of rhetoric, which was fundamental to Tudor education. The school at St Paul's became very active in the performing of plays, sometimes at court, especially under the mastership of Sebastian Westcott who is thought to have been appointed from February 1553. There is plenty of information suggesting that Cambridge colleges were active in the drama in 1553. During the reign of King Edward there are signs that the performances of the mystery cycles had been affected by the shift towards Protestantism. Compared with other dramatic forms in 1553, the cycles had a special function in religious experience. Though there are moral elements which are used to interpret scriptural history in terms of divine intervention, the main thrust of the cycles is a celebration of celestial justice.
  • 5 - The development of a professional theatre, 1540–1660
    pp 137-177
  • https://doi.org/10.1017/CHOL9780521650403.006
  • View abstract
    Summary
    The writing of a theatre history reveals almost as much about contemporary tastes and values as it does about the cultural world of the past. The nationwide phenomenon of theatre was highly disparate but this chapter seeks to trace one of the leading features of the emergent professional theatre: the theatre company. The professionalisation of the theatre was to a large degree produced by the development of theatre companies. The chapter attempts to chart some of the complexity surrounding the development of the professional theatre company, 1540-1660, in particular by looking at its relationship to systems of patronage, to actors, entrepreneurs, playwrights and audiences. The structure of patronage relationships and the notion of household membership was a powerful conditioner of the form, although they were not strictly household employees. The printed playtext captured one version of a text that took a multiplicity of forms over time, and editors of early modern drama have battled with the complexities ever since.
  • 6 - Drama outside London after 1540
    pp 178-199
  • https://doi.org/10.1017/CHOL9780521650403.007
  • View abstract
    Summary
    The dominant trend outside London from 1540 to 1642 was the disappearance of late medieval traditions of dramatic activity without the creation of new forms to replace them, so that by the time parliament prohibited public performing in 1642, very little remained. Economic distress in both provincial towns and rural areas contributed to the decline in dramatic activity outside the capital, but the Reformation had the greatest impact. Economic distress in both provincial towns and rural areas contributed to the decline in dramatic activity outside the capital, but the Reformation had the greatest impact. In addition to locally produced dramatic activity, the provinces also enjoyed the visits of travelling players, some of them based in London, others with entirely provincial itineraries. The main road used to move goods from Southampton's port to London passed a few miles east of Winchester, and the connecting road was hilly and poorly maintained.
  • 7 - ‘An example of courtesy and liberality’: great households and performance
    pp 200-223
  • https://doi.org/10.1017/CHOL9780521650403.008
  • View abstract
    Summary
    The students and scholars of early modern theatre have focused primarily on the plays of the public stages, but long before the existence of the Blackfriars, the Rose, or the great Globe itself, private household auspices had offered cultural experiences that differed significantly from their vastly more famous progeny. Theatre historians interested in social history, specifically in the fundamental importance of patronage to the structure of early modern culture, have discovered that household auspices were much more significant in the history of drama than one had heretofore assumed them to be. During the past twenty-five years, many scholars have been working to attribute anonymous early Tudor playtexts to patrons and great household auspices. Feminist criticism has inspired some of the most refreshing discoveries in household patronage, showing that women took a vital role in artistic production in early modern England.
  • 8 - The birth of an industry
    pp 224-241
  • https://doi.org/10.1017/CHOL9780521650403.009
  • View abstract
    Summary
    This chapter explores an entertainment industry which playing constituted in England during the sixteenth and seventeenth centuries, paying attention to the economic aspects of the playhouses, playing, writing plays, playgoing and the publication of playbooks. These economic aspects supply a meaningful context for understanding how and why the plays have come to admire were originally written and performed. With the rise of the purpose-built playhouses actors had places dedicated primarily to the business of playing, regular sites of theatrical commerce. Actors in the sixteenth and seventeenth centuries probably had more in common with thespians from every period than they did with contemporary workers in other occupations. Most playwrights were the sons of mechanical men, of bricklayers, glovers, dyers, scriveners, drapers. The 1590s and early 1600s witnessed a comparative boom in the printing of playbooks. Published playbooks were consequential, both in terms of the economics of the publishing industry and in terms of the cultural scene of England.
  • 9 - Theatre and controversy, 1572–1603
    pp 242-263
  • https://doi.org/10.1017/CHOL9780521650403.010
  • View abstract
    Summary
    The sixteenth century was a time of great change. Professional theatre companies flourished and a remarkable variety of performance genres and styles came into being, producing great and memorable playscripts that have come to dominate the classical repertory of English-language theatre. Not surprisingly, attacks on theatre's very existence were particularly intense and vitriolic during its first years as part of the professional London entertainment industry. Outbreaks of plague closed the theatres, most notably during 1592-94. Underlying much theatrical debate is the larger social controversy which historians such as Patrick Collinson dub 'iconophobia', the Reformation fear of the power of images. The vitriolic exchange began with an attack on episcopal corruption within the Church of England by Martin, most likely the pseudonym for a number of puritan sympathisers. Earlier attempts to destroy theatre having failed, these puritans appear to have enjoyed some of the Queen's Men's performances and decided to use the players' satiric techniques.
  • 10 - The condition of theatre in England in 1599
    pp 264-281
  • https://doi.org/10.1017/CHOL9780521650403.011
  • View abstract
    Summary
    Famine, war, pestilence and death were on show throughout England. The long run of bad harvests created massive price inflation which the government could do nothing to control, and serious famines developed, especially in the north, where heavy eruptions of the plague kept recurring in more isolated pockets. After the massive death-toll from the epidemic of 1593-94, the four years from 1597 to 1600 were thought to be relatively free from plague. Aged twenty-three, John Marston, a student at the Middle Temple, was the first of a new group of younger writers who chose to write for two hungry boy companies, resurrection and new group, the most prolific of whom was to be Thomas Middleton. Marston lived and wrote for the immediate present of the theatre world in London. Playgoing was still a fresh feature of London's social life, and the one thing new writers were sure of was that their audiences were frequent playgoers who knew their favourite repertoire.
  • 11 - Ben Jonson's Every Man in his Humour : a Case Study
    pp 282-297
  • https://doi.org/10.1017/CHOL9780521650403.012
  • View abstract
    Summary
    Every Man in His Humour was first printed as a quarto in 1601, three years after it was successfully staged by the Lord Chamberlain's Men. The quarto marks Ben Jonson's shedding of apprentice-status and discovery of an individual voice; the folio text was effected when that voice had come to its full maturity of range and resonance. In the 1598-99 season in which the first performances of Every Man in His Humour were given, the Lord Chamberlain's Men also staged Shakespeare's Much Ado About Nothing. Every Man in His Humour is remarkable precisely because it makes a bid to open up any experience to comic scrutiny; but in doing this Jonson perceives that he has to create an innovatory dramatic structure through which to express his new subject. Though the play when staged proved a success, the actors in the Lord Chamberlain's company were apparently wary at first of tackling the piece.
  • 12 - London professional playhouses and performances
    pp 298-338
  • https://doi.org/10.1017/CHOL9780521650403.013
  • View abstract
    Summary
    The first step in the adults' attempts to secure a foothold in London came in 1567, when John Brayne, a grocer from Bucklersbury, paid for a permanent playhouse to be erected in the suburbs of London, the Red Lion. In general terms, outdoor playhouses were polygonal structures, with three tiers of covered galleries with bench-seats at different prices offering spectators a choice of view and comfort, but where they might also stand. These galleries surrounded a yard, open to the weather, for standing spectators, in which stood a large stage which sometimes contained a trap door. This chapter presents a list of three case studies such as, The Spanish Tragedy at the Rose playhouse, The King's Men at the Globe, Henry VIII and The Wonder of Women, or, Sophonisba, by John Marston, at the Blackfriars. With limited opportunities to play in London, companies continued to tour, although it was a practice increasingly fraught with difficulty.
  • 13 - Working playwrights, 1580–1642
    pp 339-363
  • https://doi.org/10.1017/CHOL9780521650403.014
  • View abstract
    Summary
    Until the mid 1580s, most commercial drama was written by players for their playing companies. A few players became known chiefly as playwrights: William Shakespeare, Benjamin Jonson and Thomas Heywood. By the late 1580s there were also authors who devoted a significant part of their time to playwriting. The individual careers of Shakespeare, Thomas Dekker and James Shirley illustrate different combinations of the factors that define the work of playwriting during the years 1580-1640. Shakespeare was the ideal model of solo composition, for he was believed to have written most of his plays, and all of the best ones, by himself. It would be easier to identify individual hands in collaborative projects if the playwrights had assigned pieces of the plays by established patterns. Playwrights also wrote non-dramatic literature. Daniel, Drayton, Lodge and Shakespeare wrote sonnet sequences; Christopher Marlowe, Lodge, John Marston and Shakespeare wrote epyllia; Jonson and Marston wrote satires; Jonson wrote epigrams.
  • 14 - Theatre and controversy, 1603–1642
    pp 364-382
  • https://doi.org/10.1017/CHOL9780521650403.015
  • View abstract
    Summary
    Two kinds of theatre were in a state of abeyance during the first year of King James's reign. The first was commercial performance in London, the playhouses having been closed when Elizabeth was dying in 1603, and remaining closed on account of increased plague deaths following James's accession. The second was ceremonial theatre, in that James's coronation pageant had to be postponed until the following year. Under King Charles, it becomes more appropriate to speak of an oppositional drama, and theatre becomes an increasingly important forum for the representation of controversial issues. The position of women was an area of controversy that polarised views in very extreme ways. Public-theatre plays like The Roaring Girl, with its redefinition of the cross-dressed heroine, or The Witch of Edmonton, with its revisionist attitude towards women and 'witchcraft', are only two among many that stage debate about the place of women.
  • 15 - The Stuart masque and its makers
    pp 383-406
  • https://doi.org/10.1017/CHOL9780521650403.016
  • View abstract
    Summary
    There is probably no literary genre more elusive of reconstruction, more fugitive of interpretation, yet more significant as a cultural symptom than the court masque. In its fully developed form it lasted only from 1604 to 1640; the scripts that survive give a very partial sense of the mix of words, music, scene, dance and audience participation that characterised the entertainments. The Stuart masque most often formed a central part of the court's extended Christmas festivities, alongside plays and other entertainments, though they were also performed at other times of the year. The main entry of masquers had its roots in 'disguisings' or 'mummings' which can be traced back into the Middle Ages, and were an often anarchic part of Christmas revelry at every level of society. The court masque was deeply embedded in traditions of celebration and habits of representation which had a long history.
  • 16 - Clowns, fools and knaves: stages in the evolution of acting
    pp 407-423
  • https://doi.org/10.1017/CHOL9780521650403.017
  • View abstract
    Summary
    Distinct from the history of drama, the history of theatre is signposted by transcendent performers, and the first great artist of the English stage was a clown. Although the fool is culturally much older than the clown, he was a later arrival in the Elizabethan professional theatre. His contribution to seasonal celebrations, pastimes and parochial ceremonies is a central one: mock kings, boy bishops, players of May games and morris dancers need their fools. The clown of the play is a clown only insofar as he is a rustic simpleton. Elizabethan drama routinely separated its clowns and fools from its knaves, nor that Jacobean drama routinely replaced fools with knaves. There are knavish clowns and foolish knaves enough in both eras. The knave who is neither fool nor clown, and rarely 'heavy' enough to be a villain, operates in a moral and social isolation that is more Jacobean than Elizabethan.
  • 17 - Thomas Middleton's A Game at Chess : a case study
    pp 424-438
  • https://doi.org/10.1017/CHOL9780521650403.018
  • View abstract
    Summary
    Thomas Middleton's A Game at Chess was a phenomenon, being the most successful play of the Tudor/Stuart era. The play is a transparent commentary, filtered through the allegory of a chess game, on recent relations between England and Spain, about the Counter-Reformation ambitions of the Catholic church, and about the supposed involvement of Spain in the machinations of the most zealous of Catholic orders, the Jesuits. The Black Knight in the play represented Count Gondomar, who until 1622 had been Spanish ambassador in London; he was widely credited with undue influence over King James, both in encouraging his pacifist foreign policy and in promoting greater toleration for Catholics in England. The final act of the play depicts the bizarre and ill-judged episode in 1623 when Prince Charles and the Duke of Buckingham visited Spain, initially incognito.
  • 18 - The condition of the theatres in 1642
    pp 439-457
  • https://doi.org/10.1017/CHOL9780521650403.019
  • View abstract
    Summary
    The London theatres had been active for barely eight months of 1642 when their operations were peremptorily halted by order of Parliament. The parliamentary order against stage plays has long been taken as marking the moment at which 'Elizabethan' drama effectively ended. By the time that conditions were restored under which London's theatres could once again open legally, the character of the drama that they hosted had completely altered. The arrival of actresses and the introduction of changeable scenery into the public theatres were only the most conspicuous signs that the plays that would be seen on the stages of 1660 would take forms radically different from those they had possessed before. September 1642 was thus a watershed in the history of English theatre, and marks a sharp discontinuity between two periods of drama. It is evident that political uncertainties were starting to affect the theatres well before parliament's order was issued.
  • 19 - Theatre and Commonwealth
    pp 458-476
  • https://doi.org/10.1017/CHOL9780521650403.020
  • View abstract
    Summary
    The outbreak of civil war in 1642 and the subsequent establishment of a commonwealth or republic in 1649 are often assumed to have resulted in a virtual hiatus in dramatic activity. The context for all dramatic production during the ensuing years is that of theatre censorship enshrined in the acts and ordinances of the Commonwealth. The relationship between the written and performed texts of the pamphlet plays represent texts for the theatre, containing the list of dramatis personae, prologues and epilogues, stage directions and details of scene locations. The drama which proved most resilient to state opposition was that which had roots in popular pastime and non-commercial theatre: the interlude, jig or farce, or an entertainment which has been classified rather imprecisely as the drollery. To add to the repertoire of jigs and interludes during the 1640s and 1650s, certain players seem to have begun to abridge popular Elizabethan and Jacobean plays which were subsequently termed drolls.
Works Cited
A Diurnal of Remarkable Occurrents that have passed within the country of Scotland since the death of King James the Fourth till the year MDLXXV, Edinburgh: Bannatyne Club, 1833.
Aaron, Melissa D., ‘ The Globe and Henry V as business document ’, Studies in English Literature 1500–1900 40 : 2 ( 2000), 277–92 .
Aers, David (ed.), Culture and History 1350–1600, Detroit: Wayne State University Press, 1992.
Alexander, William Sir , The Poetical Works of Sir William Alexander, Earl of Stirling, ed. Kastner, L. E. and Charlton, H. B., Edinburgh: A. Blackwood, 1921–9.
Anglo, S., Spectacle, Pageantry, and Early Tudor Policy, Oxford: Clarendon Press, 1969.
Armin, R., The Collected Works of Robert Armin, ed. Feather, John P., New York: Johnson Reprint Corporation, 1972.
Arnold, C. J., Roman Britain to Saxon England: an Archaeological Study, London: Croom Helm, 1984.
Astington, John, English Court Theatre, 1558–1642, Cambridge University Press, 1999.
Aston, Margaret, The King's Bedpost: Reformation and Iconography in a Tudor Group Portrait, Cambridge University Press, 1993.
Axton, Marie and Williams, Raymond (eds.), English Drama: Forms and Development, Cambridge University Press, 1977.
Axton, Marie, ‘ Ane Satyre of the Thrie Estaitis : the first edition and its reception ’, in Gardner-Medwin, and Williams, (eds.), A Day Festival , 21–34 .
Axton, Richard, European Drama of the Early Middle Ages, London: Hutchinson & Co., 1974.
Axton, Richard, ‘ Folk play in Tudor interludes ’, in Axton, and Williams, (eds.), English Drama: Forms and Development , 1–23 .
Badir, Patricia, ‘ ”To allure vnto their loue“: iconoclasm and striptease in Lewis Wager's The Life and Repentaunce of Marie Magdalene ’, Theatre Journal 51 : 1 ( 1999), 1–20 .
Bakere, J. A., The Cornish Ordinalia, Cardiff: University of Wales Press, 1980.
Bakhtin, Mikhail, The Dialogic Imagination, trans. Holquist, M. and Emerson, C., Austin: University of Texas Press, 1982.
Baldwin, Elizabeth, ‘ Rushbearings and maygames in the diocese of Chester before 1642 ’, in Johnston, and Hüsken, (eds.), English Parish Drama .
Bale, John, The Complete Plays of John Bale, ed. Happé, Peter, 2 vols., Cambridge: D.S.Brewer, 1985–6.
Barroll, Leeds, ‘ Inventing the Stuart masque ’, in Bevington, and Holbrook, (eds.), The Politics of the Stuart Court Masque , 121–43 .
Barton, A., Ben Jonson, Dramatist, Cambridge University Press, 1984.
Baskervill, C. R., The Elizabethan Jig, New York: Dover, 1965.
Bawcutt, N. W. (ed.), The Control and Censorship of Caroline Drama: the Records of Sir Henry Herbert, Master of the Revels 1623–73, Oxford: Clarendon Press, 1996.
Bawcutt, N. W., ‘ Sir Henry Herbert and William Sands the puppeteer: some corrections ’, REED Newsletter 20 : 1 ( 1995), 17–19 .
Bawcutt, Priscilla, ‘ Pamphilus de amore “in Inglish toung” ’, Medium Aevum 64 : 2 ( 1995), 264–72 .
Beadle, Richard (ed.), The Cambridge Companion to Medieval English Theatre, Cambridge University Press, 1994.
Beadle, Richard (ed.), The York Plays, York Medieval Texts, Baltimore: Arnold, 1982.
Beckwith, Sarah, Christ's Body: Identity, Culture and Society in Late Medieval Writings, London: Routledge, 1993.
Ben Jonson, ed. Donaldson, Ian, Oxford University Press, 1985.
Ben Jonson, ed. Herford, C. H. and Percy, and Simpson, Evelyn, 11 vols. Oxford: Clarendon Press, 1925–52.
Benbow, Mark, ‘ Dutton and Goffe versus Broughton: a disputed contract for plays in the 1570s ’, REED Newsletter 2 ( 1981), 1–9 .
Bentley, G. E., The Jacobean and Caroline Stage, 7 vols., Oxford: Clarendon Press, 1941–68.
Bentley, G. E., The Profession of Dramatist in Shakespeare's Time, 1590–1642, Princeton University Press, 1971.
Bentley, G. E., The Profession of Player in Shakespeare's Time, Princeton University Press, 1984.
Bergeron, David, ‘ Women as patrons of English Renaissance drama ’, in Lytle, and Orgel, (eds.), Patronage in the Renaissance , 274–90 .
Berry, Herbert, The Boar's Head Playhouse, Washington: Folger Shakespeare Library, 1986.
Berry, Herbert (ed.), The First Public Playhouse: the Theatre in Shoreditch 1576–1598, Montreal: McGill–Queen's University Press, 1979.
Berry, Herbert, ‘ The Globe bewitched and El Hombre Fiel ’, Medieval and Renaissance Drama in England 1 ( 1984), 211–30 .
Bevington, D. and Holbrook, P. (eds.), The Politics of the Stuart Court Masque, Cambridge University Press, 1998.
Bevington, David, Medieval Drama, Boston: Houghton Mifflin Company, 1975.
Bevington, David, Tudor Drama&Politics, Cambridge, MA: Harvard University Press, 1968.
Billington, Sandra, Mock Kings in Medieval Society and Renaissance Drama, Oxford: Clarendon Press, 1991.
Bishop, Tom, ‘ Tradition and novelty in the Jacobean masque ’, in Bevington, and Holbrook, (eds.), The Politics of the Stuart Court Masque , 88–120 .
Blackley, F. D. and Hermansen, G. (eds.), The Household Book of Queen Isabella of England for the Fifth Regnal Year of Edward II, 8th July 1311 to 7th July 1312, Edmonton: University of Alberta Press, 1971.
Blackstone, Mary, ‘ Patrons and Elizabethan dramatic companies ’, in McGee, C. E. (ed.), Elizabethan Theatre X, Port Credit, Ontario: P. D. Meany, 1988, 112–32 .
Blatt, Thora, The Plays of John Bale: a Study of Ideas, Technique and Style, Copenhagen: Gads Forlag, 1968.
Blayney, Peter, ‘ The Publication of Playbooks ’, in Cox, and Kastan, (eds.), A New History of Early English Drama , 383–422 .
Boas, Frederick, University Drama in the Tudor Age, Oxford University Press, 1914.
Bond, Edward, Bingo, London: Eyre Methuen, 1974.
Boose, Lynda E., ‘ Scolding bridles and bridling scolds: taming thewoman's unruly member ’, Shakespeare Quarterly 42 : 2 ( 1991), 179–213 .
Bordier, J.-P., Le Jeu de la Passion: le message chrétien et le théâtre français (XIIIL–XVIL S.), Paris: H. Champion, 1998.
Bourgeault, Cynthia, ‘ Liturgical dramaturgy and modern production ’, in Campbell, and Davidson, (eds.), The Fleury Playbook , 144–60 .
Bower, Walter, Scotichronicon, ed. Watt, D. E. R., 9 vols., Aberdeen University Press, 1987–8.
Bradley, David, From Text to Performance in Elizabethan Theatre, Cambridge University Press, 1992.
Braunmuller, A. R., ‘ “To the Globe I rowed”: John Holles sees A Game at Chess ’, English Literary Review 20 ( 1990), 340–56 .
Braunmuller, A. R. and Hattaway, Michael (eds.), The Cambridge Companion to English Renaissance Drama, Cambridge University Press, 1990.
Briggs, Asa, A Social History of England, London: Book Club Associates, 1983.
Briscoe, Marianne and Coldewey, John (eds.), Contexts for Early English Drama, Bloomington, IN: Indiana University Press, 1989.
Bristol, Michael, Carnival and Theatre, London: Methuen, 1985.
Brome, Richard, A Jovial Crew, ed. Haaker, Ann, London: Edward Arnold, 1968.
Brooks, Douglas, From Playhouse to Printing House, Cambridge University Press, 2000.
Brown, C. and Marotti, A. (eds.), Texts and Cultural Change in Early Modern England, Basingstoke: Macmillan, 1997.
Brown, Cedric C. (ed.), Patronage, Politics and Literary Traditions in England: 1558–1658, Detroit: Wayne State University Press, 1991.
Brown, Keith, ‘ Historical context and Henry V ’, Cahiers Elizabethaines 29 ( 1986), 77–81 .
Brownstein, O. L., ‘ A Record of London inn playhouses from c . 1565–1590 ’, Shakespeare Quarterly 22 ( 1971), 17–24 .
Brownstein, O. L., ‘ Why didn't Burbage lease the Beargarden? A conjecture in comparative architecture ’, in Berry, (ed.), The First Public Playhouse , 81–96 .
Bruster, Douglas, Drama and the Market in the Age of Shakespeare, Cambridge University Press, 1992.
Butler, Martin, ‘ Courtly negotiations ’, in Bevington, and Holbrook, (eds.), The Politics of the Stuart Court Masque , 20–40 .
Butler, Martin, ‘ Ecclesiastical censorship of early Stuart drama: the case of Jonson's The Magnetic Lady ’, Modern Philology 89 ( 1992), 469–81 .
Butler, Martin, ‘ Politics and the masque: Salmacida Spolia ’, in Healy, and Sawday, (eds.), Literature and the English Civil War , 59–74 .
Butler, Martin, ‘ Politics and the masque: The Triumph of Peace ’, The Seventeenth Century 2 ( 1987), 117–41 .
Butler, Martin, ‘ Reform or reverence? The politics of the Caroline masque ’, in Mulryne, and Shewring, (eds.), Theatre and Government under the Early Stuarts , 118–56 .
Butler, Martin, Theatre and Crisis, 1632–1642, Cambridge University Press, 1984.
Butler, Martin, ‘ Two playgoers, and the closing of the London theatres, 1642 ’, Theatre Research International 9 ( 1984), 93–9 .
Butler, Martin and Lindley, David, ‘ Restoring Astraea: Jonson's masque for the fall of Somerset ’, English Literary History 61 ( 1994), 807–27 .
Camden, William, Annales, trans. Browne, Thomas, London, 1625.
Campbell, Thomas and Davidson, Clifford (eds.), The Fleury Playbook: Essays and Studies, Kalamazoo, MI: Western Michigan University Press, 1985.
Carnegie, David, ‘ Actors' parts and the “Play of Poore” ’, Harvard Library Bulletin 30 : 1 ( 1982), 5–24 .
Carpenter, Sarah, ‘ Early Scottish drama ’, in Jack, (ed.), The History of Scottish Literature , 1 , 199–211 .
Carson, Neil, A Companion to Henslowe's Diary, Cambridge University Press, 1988.
Cave, R. A., Ben Jonson, Basingstoke: Macmillan, 1991.
Cave, R. A., Schafer, E. and Woolland, B., Ben Jonson and Theatre: Performance, Practice and Theory, London: Routledge, 1999.
Cawley, A. C. (ed.), The Wakefield Pageants in the Towneley Cycle, Manchester University Press, 1958.
Ceresano, S. P., ‘ Philip Henslowe, Simon Forman, and the theatrical community of the 1590s ’, Shakespeare Quarterly 44 ( 1993), 145–58 .
Ceresano, S. P. and Wynne-Davies, Marion, Renaissance Drama by Women: Texts and Documents, London: Routledge, 1996.
Chamberlain, John, The Letters of John Chamberlain, ed. McClure, Norman Egbert, 2 vols., Philadelphia: American Philosophical Society, 1939.
Chambers, E. K., The Elizabethan Stage, 4 vols., Oxford: Clarendon Press, 1951.
Chambers, E. K., The Medieval Stage, 2 vols., Oxford University Press, 1903.
Chetwood, W. R., A General History of the English Stage, London, 1749.
Clare, Janet, ‘ Art Made Tongue-tied by Authority’: Elizabethan and Jacobean Dramatic Censorship, Manchester University Press, 1990.
Clare, Janet, ‘ The production and reception of Davenant's Cruelty of the Spaniards in Peru ’, Modern Language Review 89 : 4 ( 1994), 832–41 .
Clare, Janet, Drama of the English Republic, 1649–60, Manchester University Press, 2002.
Clark, Peter and Slack, Paul (eds.), Crisis and Order in English Towns, 1500–1700: Essays in Urban History, London: Routledge and Kegan Paul, 1972.
Clegg, Cynthia Susan, Press Censorship in Elizabethan England, Cambridge University Press, 1998.
Coates, W. H., Young, A. S. and Snow, V. F. (eds.), The Private Journals of the Long Parliament, New Haven: Yale University Press, 1982.
Cogswell, Thomas, ‘ Thomas Middleton and the court, 1624: A Game at Chess in context ’, Huntington Library Quarterly 42 ( 1984), 273–88 .
Coldewey, John C., ‘ The Digby plays and the Chelmsford records ’, Research Opportunities in Renaissance Drama 10 ( 1967), 103–21 .
Coldewey, John C., ‘ The last rise and final demise of Essex town drama ’, Modern Language Quarterly 36 : 3 ( 1975), 239–60 .
Coldewey, John C., ‘ Some aspects of the late medieval drama ’, in Briscoe, and Coldewey, (eds.) Contexts for Early English Drama , 77–101 .
Coldewey, John C., ‘ The non-cycle plays and the East Anglian tradition ’, in Beadle, (ed.), The Cambridge Companion to Medieval English Theatre , 189–210 .
Collinson, Patrick, From Iconoclasm to Iconophobia: the Cultural Impact of the Second English Reformation, University of Reading Press, 1986.
Cook, Ann Jennalie, ‘ Audiences: investigation, interpretation, invention ’, in Cox, and Kastan, (eds.), A New History of Early English Drama , 305–20 .
Corbin, Peter and Sedge, Douglas, The Oldcastle Controversy, Manchester University Press, 1991.
Cox, John and Kastan, David Scott (eds.), A New History of Early English Drama, New York: Columbia University Press, 1997.
Craik, T. W., The Tudor Interlude, Leicester University Press, 1958.
Creaser, John, ‘ “The present aid of this occasion”: the setting of Comus ’, in Lindley, (ed.), The Court Masque , 111–34 .
Cruickshanks, Evelyn (ed.), The Stuart Courts, Stroud: Sutton, 2000.
Davidson, Clifford (ed.), Fools and Folly, Kalamazoo, MI: Medieval Institute Publications, 1996.
Davidson, Clifford (ed.), Material Culture and Medieval Drama, Kalamazoo, MI: Western Michigan University Press, 1999.
Davidson, Clifford (ed.), The Saint Play in Medieval Europe, Kalamazoo, MI: Western Michigan University Press, 1986.
Davidson, Clifford and Eljenholm, Ann (eds.), Iconoclasm vs. Art and Drama, Kalamazoo, MI: Medieval Institute Publications, 1989.
Davies, H. Neville, ‘ The limitations of festival: Christian IV's state visit to England in 1606 ’, in Mulryne, and Shewring, (eds.), Italian Renaissance Festivals and their European Influence , 311–36 .
Davis, Natalie Zemon, ‘ The sacred and the body social in sixteenth-century Lyon ’, Past and Present 90 ( 1981), 40–70 .
Dawson, G. E. (ed.), Records of Plays and Players in Kent, 1450–1642, Malone Society Collections VII , Oxford University Press, 1965.
Day, John, Works, ed. Bullen, A. H., reprint, London: Holland Press, 1963.
De la Bédoyère, Guy, Roman Towns in Britain, London: B. T. Batsford, 1992.
Dekker, Thomas, A Knight's Conjuring, ed. Robbins, Larry M., The Hague: Mouton, 1974.
Dessen, Alan C. and Thomson, Leslie, A Dictionary of Stage Directions in English Drama, 1580–1642, Cambridge University Press, 1999.
Dolan, Frances E., Dangerous Familiars: Representation of Domestic Crime in England, 1550–1700, Ithaca: Cornell University Press, 1994.
Dollimore, J. and Sinfield, A. (eds.), Political Shakespeare, Ithaca: Cornell University Press, 1985.
Douglas, Gavin, The Shorter Poems, ed. Bawcutt, N. W., Edinburgh, Scottish Text Society, 1967.
Dronke, Peter (ed. and trans.), Nine Medieval Latin Plays, Cambridge University Press, 1994.
Drumbl, Johan, Quem Quaeritis? Teatro sacro dell'alto medioevo, Rome: Bulzoni Editore, 1981.
Dunbar, William, Poems, ed. Mackenzie, W. Mackay, London: Faber and Faber, 1932.
Dunbar, William, Selected Poems, ed. Bawcutt, Priscilla, Harlow: Longman, 1996.
Durston, Christopher, ‘ “For the better humiliation of the people”: public days of fasting and thanksgiving during the English revolution ’, The Seventeenth Century 7 ( 1992), 129–49 .
Durston, Christopher, ‘ Puritan rule and the failure of cultural revolution, 1645–1660 ’, in Durston, and Eales, (eds.), The Culture of English Puritanism , 210–34 .
Durston, Christopher and Eales, Jacqueline (eds.), The Culture of English Puritanism, 1560–1700, Basingstoke: Macmillan, 1996.
Dutton, Richard, ‘ The birth of the author ’, in Brown, and Marotti, (eds.), Texts and Cultural Change in Early Modern England , 153–78 .
Dutton, Richard, Licensing, Censorship and Authorship: Buggeswords, Basingstoke and New York: Palgrave, 2001.
Dutton, Richard, ‘ Censorship ’, in Cox, and Kastan, (eds.), A New History of Early English Drama , 287–304 .
Dutton, Richard, ‘ “Discourse in the players, though no disobedience”: Sir Henry Herbert's problems with the players and Archbishop Laud, 1632–34 ’, The Ben Jonson Journal 5 ( 1998), 37–62 .
Dutton, Richard, ‘ Hamlet, An Apology for Actors , and the sign of the Globe ’, Shakespeare Survey 41 ( 1989), 35–43 .
Dutton, Richard (ed.), Jacobean Civic Pageants, Keele University Press, 1995.
Dutton, Richard, Mastering the Revels: the Regulation and Censorship of English Renaissance Drama, Basingstoke: Macmillan, 1991.
Edmond, Mary, ‘ Pembroke's Men ’, Review of English Studies , n.s. 25 ( 1974), 129–36 .
Edwards, Philip, et al. (eds.), The Revels History of Drama in English, vol. IV , London: Routledge, 1996.
Edwards, Warwick, ‘ Consort music ’, in Sadie, (ed.), The New Grove Dictionary of Music , IV , 672–5 .
Eliade, Mircea, Cosmos and History: the Myth of the Eternal Return, trans. Trask, W. R., New York: Harper, 1959.
Eliade, Mircea, The Sacred and the Profane: the Nature of Religion, trans. Trask, W. R., New York: Harper, 1961.
Elliott, Alison Goddard (ed. and trans.), Seven Medieval Latin Comedies, New York: Garland Publishing, 1984.
Elliott, Kenneth and Shire, Helen Mennie (eds.), Music of Scotland 1500–1700, Musica Britannica, vol. 15 , London: Stainer and Bell, 1975, 141–7 .
Emmerson, Richard, ‘ Contextualizing Performance: the Reception of the Chester AntiChrist ’, Journal of Medieval and Early Modern Studies 29 ( 1999), 89–119 .
Emmison, Frederick, Tudor Food and Pastimes, London: Ernest Benn, 1964.
Evelyn, John, Diary of John Evelyn, ed. Beer, , 6 vols., Oxford: Clarendon Press, 1955.
Feuillerat, A. (ed.), Documents Relating to the Revels at Court in the Time of King Edward VI and Queen Mary, Louvain: A. Uystpruyst, 1914.
Firth, C. H., ‘ Sir William Davenant and the revival of drama during the Protectorate ’, English Historical Review (April 1903), 103–20 .
Firth, C. H. and Rait, R. S. (eds.), Acts and Ordinances of the Interregnum, 3 vols., Cambridge, 1911.
Flanigan, C. Clifford, ‘ The liturgical context of the quem queritis trope ’, Comparative Drama 8 ( 1974), 45–62 .
Fletcher, A., Reform in the Provinces, New Haven: Yale University Press, 1986.
Fletcher, Anthony and Stevenson, John (eds.), Order and Disorder in Early Modern England, Cambridge University Press, 1985.
Foakes, R. A, Illustrations of the English Stage 1580–1642, Stanford University Press, 1985.
Foakes, R. A. and Rickert, R. T. (eds.), Henslowe's Diary, Cambridge University Press, 1961.
Foxe, John, Two Latin Comedies by John Foxe the Martyrologist, ed. and trans. Smith, John Hazel, Ithaca: Cornell University Press, 1973.
Fradenburg, Louise Olga, City, Marriage, Tournament: Arts of Rule in Late Medieval Scotland, Madison, WI: University of Wisconsin Press, 1991.
Gair, W. Reavley, The Children of Paul's: the Story of a Theatre Company, 1553–1608, Cambridge University Press, 1982.
Galloway, D. and Wasson, J. (eds.), Records of Plays and Players in Norfolk and Suffolk, 1330–1640, Malone Society Collections XI, Oxford University Press, 1980.
Gardiner, Samuel Rawson, Documents Relating to the Proceedings against William Prynne in 1634 and 1637, series 2, 18, London: Camden Society, 1878.
Gardner-Medwin, A. and Williams, J. H. (eds.), A Day Festival, Aberdeen University Press, 1990.
Gayton, Edmund, Pleasant Notes upon Don Quixote, London, 1656.
Geertz, Clifford, The Interpretation of Cultures, New York: Basic Books, 1973.
Geertz, Clifford, Local Knowledge, New York: Harper Collins, 1983.
George, David, ‘ Anti-Catholic plays, puppet shows, and horse-racing in Reformation Lancashire ’, REED Newsletter 19 : 1 ( 1994), 15–22 .
Gibson, Gail McMurray, The Theater of Devotion: East Anglian Drama and Society in the Late Middle Ages, University of Chicago Press, 1989.
Gibson, James, ‘ “Interludum Passionis Domini”: parish drama in medieval New Romney ’, in Johnston, and Hüsken, (eds.), English Parish Drama , 137–45 .
Gibson, James, ‘ Stuart players in Kent: fact or fiction? ’, REED Newsletter 20.2 ( 1995), 1–13 .
Gildersleeve, Virginia, Government Regulation of the Elizabethan Drama, New York: Burt Franklin, 1961.
Gordon, D. J., ‘ Poet and architect: the intellectual setting of the quarrel between Inigo Jones and Ben Jonson ’, in Orgel, S. (ed.), The Renaissance Imagination, 77–101 , Berkeley: University of California Press, 1975.
Graves, R. B., Lighting the Shakespearean Stage 1576–1642, Carbondale: Southern Illinois University Press, 1999.
Gray, Douglas, ‘ The royal entry in sixteenth-century Scotland ’, in Mapstone, and Wood, (eds.), The Rose and the Thistle , 10–37 .
Greenblatt, Stephen, Renaissance Self-Fashioning: From More to Shakespeare, University of Chicago Press, 1980.
Greenfield, Peter H., ‘ Entertainments of Henry, Lord Berkeley, 1593–4 and 1600–05 ’, REED Newsletter 8 ( 1983), 12–24 .
Greenfield, Thelma, The Induction in Elizabethan Drama, Eugene: University of Oregon Books, 1969.
Greg, W. W. (ed.), Henslowe Papers: Being Documents Supplementary to Henslowe's Diary, London: A. H. Bullen, 1907.
Grose, Francis (comp.), ‘ The Earl of Northumberland's Household Book ’, The Antiquarian Repertory, vol. 4 , London: E. Jeffery, 1809.
Gurr, Andrew, ‘ The bare island ’, Shakespeare Survey 47 ( 1994), 29–43 .
Gurr, Andrew, ‘ Money or audiences: the choice of Shakespeare's Globe ’, Theatre Notebook 42 ( 1988), 3–14 .
Gurr, Andrew, Playgoing in Shakespeare's London, Cambridge University Press, 1987.
Gurr, Andrew, The Shakespearian Playing Companies, Oxford: Clarendon Press, 1996.
Gurr, Andrew, The Shakespearean Stage, 1574–1642, 3rd edition, Cambridge University Press, 1992.
Gurr, Andrew, ‘ Why Captain Jamy in Henry V? ’, Archiv 226 ( 1989), 365–73 .
Haaker, Ann, ‘ The plague, the theater, and the poet ’, Renaissance Drama , n.s. 1 ( 1968), 283–306 .
Haigh, Christopher, English Reformations: Religion, Politics, and Society under the Tudors, Oxford University Press, 1993.
Hakluyt, R., The Principall Navigations, Voyages and Discoveries of the English Nation, Glasgow: James MacLehose and Sons, 1904.
Hall, Edward, The Vnion of the Two Noble and Illustre Famelies of Lancastre and Yorke, London: G. Woodfall, 1809.
Halpern, Richard, The Poetics of Primitive Accumulation: English Renaissance Culture and the Genealogy of Capital, Ithaca: Cornell University Press, 1991.
Happé, Peter, John Bale, London: Prentice Hall International, 1996.
Happé, Peter, ‘ The Protestant adaptation of the saint play ’, in Davidson, (ed.), The Saint Play in Medieval Europe , 205–40 .
Happé, Peter, ‘ Staging Folly in the early sixteenth century: Heywood, Lindsay and others ’, in Davidson, (ed.), Fools and Folly , 73–111 .
Happé, Peter and King, John N. (eds.), The Vocacyon of Johan Bale, Binghamton, NY: Renaissance English Text Society, 1990.
Hardison, O. B., Christian Rite and Christian Drama in the Middle Ages, Baltimore: Johns Hopkins University Press, 1965.
Harris, John Wesley, Medieval Theatre in Context, London: Routledge, 1992.
Hawkes, Terence (ed.), Alternative Shakespeares, vol. II , London: Routledge, 1996.
Hayes, Rosalind, ‘ Dorset church houses and the Drama ’, Research Opportunities in Renaissance Drama 31 ( 1992), 12–23 .
Hayes, RosalindLot's wife or the burning of Sodom: the Tudor Corpus Christi play at Sherborne, Dorset ’, Research Opportunities in Renaissance Drama 33 ( 1994), 105 .
Healy, Thomas and Sawday, Jonathan (eds.), Literature and the English Civil War, Cambridge University Press, 1990.
Heinemann, Margot, Puritanism and Theatre: Middleton and Opposition Drama under the Early Stuarts, Cambridge University Press, 1980.
Henderson, Diana E., ‘ The theater and domestic culture ’, in Cox, and Kastan, (eds.), A New History of Early English Drama , 173–194 .
Heywood, Thomas, An Apology for Actors from the edition of 1612, ed. Collier, J. P., London: Shakespeare Society, 1841.
Higgins, Sydney (ed.), European Medieval Drama 1998, Camerino, Macerata: Università degli studi di Camerino, Centro linguistico di ateneo, 1999.
Hill-Vasquez, Heather, ‘ The possibilities of performance: a Reformation sponsorship for the Digby Conversion of Saint Paul ’, REED Newsletter 22 ( 1997), 2–20 .
Honan, Park, Shakespeare: a Life, Oxford: Clarendon Press, 1999.
Honigmann, E. A. J., Shakespeare: the ‘Lost Years’, Manchester University Press, 1985.
Honigmann, E. A. J. and Brock, Susan (eds.), Playhouse Wills, 1558–1642, Manchester University Press, 1993.
Hopwood, C. H. and Martin, C. T. (eds.), Middle Temple Records, London: Butterworth, 1904.
Hotson, L., The Commonwealth and Restoration Stage, Cambridge, MA: Harvard University Press, 1928.
Howard-Hill, T. H., ‘ The unique eye-witness report of Middleton's A Game at Chess ’, Review of English Studies , n.s. 42 ( 1991), 168–78 .
Howard-Hill, T. H., ‘ Political interpretations of Middleton's A Game at Chess ’, Yearbook of English Studies 21 ( 1991), 274–85 .
Howard-Hill, T. H., Middleton's ‘Vulgar Pasquin’: Essays on ‘A Game at Chess’, Newark, Delaware: University of Delaware Press, 1995.
Hughes, Paul and Larkin, James (eds.), Tudor Royal Proclamations, 3 vols., New Haven: Yale University Press, 1964.
Hutton, Ronald, The Rise and Fall of Merry England: the Ritual Year 1400–1700, Oxford University Press, 1996.
Ingram, Martin, Church Courts, Sex and Marriage, 1570–1640, Cambridge University Press, 1990.
Ingram, R. W., ‘ 1579 and the decline of civic religious dramain Coventry ’, Elizabethan Theatre VIII, ed. Hibbard, G. R., Port Credit, Ontario: P. D. Meany, 1982, 114–28 .
Ingram, R. W., ‘ “To find the players and all that longeth therto”: notes on the production of medieval drama in Coventry ’, The Elizabethan Theatre V, Port Credit, Ontario: P. D. Meany, 1975, 17–44 .
Ingram, William, The Business of Playing: the Beginnings of Adult Professional Theatre in Elizabethan England, Ithaca: Cornell University Press, 1992.
Ingram, William, ‘ The cost of touring ’, Medieval and Renaissance Drama in England 6 ( 1993), 58–9 .
Ingram, William, ‘ The economics of playing ’, in Kastan, (ed.), A Companion to Shakespeare , 313–27 .
Ingram, William, ‘ The Theatre at Newington Butts ’, Shakespeare Quarterly 21 ( 1970), 385–98 .
Jack, R. D. S. (ed.), The History of Scottish Literature, vol. 1 : Origins to 1660, Aberdeen University Press, 1989.
Jack, R. D. S. and Rozendaal, P. (eds.), The Mercat Anthology of Early Scottish Literature 1375–1707, Edinburgh: Mercat Press, 1997.
Jacob, James R. and Raylor, Timothy, ‘ Opera and obedience: Thomas Hobbes and A Proposition for Advancement of Moralitie by Sir William Davenant ’, The Seventeenth Century 6 : 2 ( 1991), 205–50 .
Jacquot, Jean, Konigson, Elie and Oddon, Marcel (eds.), Dramaturgie et société: rapports entre l'oeuvre théâtrale, son interpretation et son public aux XVIe et XVIIe siècles, Paris: Editions du Centre National de la Recherche Scientifique, 1968.
,James VI, King of Scotland , New Poems by James I of England, ed. Westcott, Allan F., New York: Columbia University Press, 1911.
James, Mervyn, ‘ Ritual, drama, and social body in the late medieval English town ’, Past and Present 98 ( 1983), 3–29 .
Johnston, Alexandra F. and Hüsken, Wim (eds.), Civic Ritual and Drama, Amsterdam: Rodopi, 1997.
Johnston, Alexandra F. and Hüsken, Wim (eds.), English Parish Drama, Amsterdam: Rodopi, 1996.
Jones, Gareth, A New History of Wales: the Gentry and the Elizabethan State, Swansea: Christopher Davies, 1977.
Jones, Michael, The End of Roman Britain. Ithaca: Cornell University Press, 1996.
Jones, Robert C., ‘ Dangerous sport: the audience's engagement with vice in the moral interludes ’, Renaissance Drama 6 ( 1973), 45–64 .
Jonson, Ben, Eastward Ho!, ed. Fossen, R. W., Manchester University Press, 1979.
Jonson, Ben, Every Man in His Humour, ed. Lever, J. W., Lincoln: University of Nebraska Press, 1971.
Jonson, Ben, Sejanus, ed. Ayres, Philip J., Manchester University Press, 1990.
Joughin, John J. (ed.), Shakespeare and National Culture, Manchester University Press, 1997.
Kastan, David Scott (ed.), A Companion to Shakespeare, Oxford: Blackwell, 1999.
Kenyon, Kathleen M., ‘ The Roman Theatre at Verulamium, St Albans ’, Archaeologia 84 (Second Series 34) ( 1935), 213–61 .
King, John, English Reformation Literature, Princeton University Press, 1983.
King, John, Tudor Royal Iconography: Literature and Art in the Age of Religious Crisis, Princeton University Press, 1989.
King, Pamela, ‘ The York and Coventry mystery cycles: a comparative model of civic response to growth and recession ’, REED Newsletter 22 ( 1997), 20–6 .
King, T. J., ‘ The staging of plays at the Phoenix in Drury Lane, 1617–42 ’, Theatre Notebook 19 ( 1964–5), 146–66 .
Kipling, G., Enter the King: Theatre, Liturgy, and Ritual in the Medieval Civic Triumph, Oxford: Clarendon Press, 1998.
Kirk, James (ed.), Stirling Presbytery Records 1581–1587, Edinburgh: Clark Constable, 1981.
Knowles, David, Bare Ruined Choirs: the Dissolution of the English Monasteries, Cambridge University Press, 1976.
Knutson, Roslyn, The Repertory of Shakespeare's Company, Fayetteville: University of Arkansas Press, 1991.
Kolve, V. A., The Play Called Corpus Christi, Stanford University Press, 1966.
Lancashire, Ian, Dramatic Texts and Records of Britain: a Chronological Topography to 1558, Cambridge University Press and University of Toronto Press, 1984.
Lancashire, Ian, ‘ Orders for Twelfth Day and Night circa 1515 in the Second Northumberland Household Book ’, English Literary Renaissance 10 ( 1980), 7–45 .
Larkin, James F. and Hughes, Paul L. (eds.), Stuart Royal Proclamations, 2 vols., Oxford: Clarendon Press, 1983.
Lasocki, David, ‘ Professional recorder playing in England, 1500–1740 ’, Early Music 10 : 1 ( 1982), 23–28 .
Lennam, T. N. S., ‘ Sir Edward Dering's collection of playbooks ’, Shakespeare Quarterly 16 ( 1965), 145–53 .
Lewalski, Barbara, ‘ Milton's Comus and the politics of masquing ’, in Bevington, and Holbrook, (eds.), The Politics of the Stuart Court Masque , 296–320 .
Lewalski, Barbara, ‘ Re-writing patriarchy and patronage: Margaret Clifford, Anne Clifford, and Aemilia Lanyer ’, in Brown, (ed.), Patronage, Politics and Literary Traditions in England , 59–78 .
Lewalski, Barbara, Writing Women in Jacobean England, Cambridge, MA: Harvard University Press, 1993.
Limon, Jerzy, Dangerous Matter: English Drama and Politics in 1623/24, Cambridge University Press, 1986.
Lindley, David, ‘ Campion's Lord Hay's Masque and Anglo-Scottish Union ’, Huntington Library Quarterly 43 ( 1979–80), 1–11 .
Lindley, David (ed.), The Court Masque, Manchester University Press, 1984.
Lindley, David (ed.), Court Masques, Oxford University Press, 1995.
Lindley, David, ‘ Courtly play: the politics of Chapman's The Memorable Masque ’, in Cruickshanks, (ed.), Stuart Courts , 43–58 .
Lindley, David, ‘ The politics of music in the masque ’, in Bevington, and Holbrook, (eds.), The Politics of the Stuart Court Masque , 273–95 .
Lindsay, David Sir , Ane Satyre of the Thrie Estaitis, ed. Lyall, Roderick, Edinburgh: Canongate Publishing Ltd, 1989.
Liversidge, Joan, Britain in the Roman Empire, New York: Frederick A. Praeger, 1968.
Loengard, Janet, ‘ An Elizabethan lawsuit: John Brayne, his carpenter, and the building of the Red Lion theatre ’, Shakespeare Quarterly 34 ( 1983), 298–310 .
Long, William, ‘ “Precious Few”: English manuscript playbooks ’, in Kastan, (ed.), A Companion to Shakespeare , 414–33 .
Long, William, ‘ Bookkeepers and playhouse manuscripts: a peek at the evidence ’, Shakespeare Newsletter 44 : 1 ( 1994), 3 .
Loomba, Anita, ‘ Shakespeare and cultural difference ’, in Hawkes, (ed.), Alternative Shakespeares , 11 , 164–91 .
Luders, A. (ed.), Statutes of the Realm, 11 vols., London: George Eyre and Andrew Strahan, 1810–28 .
Lynch, Michael, Edinburgh and the Reformation, Edinburgh: John Donald, 1981.
Lynch, Michael, ‘ Queen Mary's Triumph: the baptismal celebrations at Stirling in December 1566 ’, The Scottish Historical Review 69 : 1 ( 1990), 1–21 .
Lytle, Guy Fitch and Orgel, Stephen (eds.), Patronage in the Renaissance, Princeton University Press, 1981.
MacLaine, Allan H. (ed.), The Christis Kirk Tradition: Scots Poems of Folk Festivity, Glasgow: Association for Scottish Literary Studies, 1996.
MacLean, Sally-Beth, ‘ Players on tour: new evidence from Records of Early English Drama ’, in McGee, C. E. (ed.), Elizabethan Theatre X, Port Credit, Ontario: P. D. Meany, 1988, 55–72 .
MacLean, Sally-Beth, ‘ Reassessment of a popular pre-Reformation festival ’, in Twycross, , Festive Drama , 233–41 .
Maley, Willy, ‘ “This sceptred isle”: Shakespeare and the British problem ’, in Joughin, (ed.), Shakespeare and National Culture , 83–108 .
Mapstone, Sally and Wood, Juliette (eds.), The Rose and the Thistle: Essays on the Culture of Late Medieval and Renaissance Scotland, East Linton: Tuckwell Press, 1998.
Masten, Jeffrey, ‘ Beaumont and/or Fletcher: collaboration and interpretation of Renaissance drama ’, English Literary History 59 ( 1992), 337–56 .
Masten, Jeffrey, ‘ Playwrighting: authorship and collaboration ’, in Cox, and Kastan, (eds.), A New History of Early English Drama , 357–82 .
Masten, Jeffrey, Textual Intercourse: Collaboration, Authorship, and Sexualities in Renaissance Drama, Cambridge University Press, 1997.
McClure, N. E. (ed.), The Letters and Epigrams of Sir John Harington, University of Philadelphia Press, 1930.
McDonald, Russ, The Bedford Companion to Shakespeare: an Introduction with Documents, Boston: Bedford Books, 1996.
McFarlane, I. D., Buchanan, London: Duckworth, 1981.
McGavin, John J., ‘ Robert III's “roughmusic”: charivari and diplomacy ina medieval Scottish court ’, The Scottish Historical Review 74 : 2 ( 1995), 144–58 .
McGavin, John, ‘ Drama in sixteenth-century Haddington ’, in Higgins, (ed.), European Medieval Drama , 1 , 147–59 .
McLuskie, K. and Dunsworth, F., ‘ Patronage and the economics of theatre ’, in Cox, and Kastan, (eds.), A New History of Early English Drama , 423–40 .
McLuskie, Kathleen, Dekker and Heywood: Professional Dramatists, New York: St Martin's Press, 1994.
McLuskie, Kathleen, ‘ The patriarchal bard: feminist criticism and Shakespeare ’, in Dollimore, and Sinfield, (eds.), Political Shakespeare , 88–108 .
McLuskie, Kathleen, ‘ The plays and the playwrights ’, in Edwards, et al. (eds.), The Revels History of Drama in English , IV , 127–260 .
McMillin, S. and MacLean, S., The Queen's Men and their Plays, Cambridge University Press, 1998.
McMillin, Scott, The Elizabethan Theatre and ‘The Book of Sir Thomas More’, Ithaca: Cornell University Press, 1987.
McMillin, Scott, ‘ Professional playwrighting ’, in Kastan, (ed.), A Companion to Shakespeare , 225–38 .
McMillin, Scott, ‘ Sussex's Menin 1594: the evidence of Titus Andronicus and The Jew of Malta ’, Theatre Survey 32 ( 1991), 214–23 .
Melville, James, The Diary of Mr James Melville 1566–1601, Edinburgh: Bannatyne Club, 1829.
Meredith, P., ‘ John Clerke's hand in the York Register ’, Leeds Studies in English 12 ( 1981), 245–71 .
Middleton, Thomas, A Game at Chess, ed. Howard-Hill, T. H., Manchester University Press, 1993.
Middleton, Thomas, The Second Maiden's Tragedy, ed. Lancashire, A. B., Manchester University Press, 1978.
Milhous, Judith and Hume, Robert D., ‘ New light on English acting companies in 1646, 1648, and 1660 ’, Review of English Studies 42 ( 1991), 487–509 .
Mill, A. J., Medieval Plays in Scotland, St Andrews University Publications, 1927.
Mills, D., ‘ Chester's Midsummer Show: creation and adaptation ’, in Twycross, (ed.), Festive Drama , 132–44 .
Mills, D., Re-Cycling the Cycle: the City of Chester and its Whitsun Plays, University of Toronto Press, 1998.
Montgomerie, Alexander, Poems, ed. Cranstoun, James, Edinburgh: William Blackwood & Sons, 1887.
Moore Smith, G. C. (ed.), The Letters of Dorothy Osborne to William Temple, Oxford: Clarendon Press, 1928.
Morse, David, England's Time of Crisis: from Shakespeare to Milton: a Cultural History, New York: St Martin's Press, 1989.
Muir, Lynette R., Liturgy and Drama in the Anglo-Norman Adam, Oxford: Basil Blackwell, 1973.
Mullaney, Steven, The Place of the Stage: License, Play, and Power in Renaissance England, University of Chicago Press, 1988.
Mullett, Charles F., The Bubonic Plague and England, Lexington: University of Kentucky Press, 1956.
Mulryne, J. R. and Shewring, Margaret (eds.), Italian Renaissance Festivals and their European Influence, Lampeter: Edwin Mellen Press, 1992.
Mulryne, J. R. and Shewring, Margaret (eds.), Shakespeare's Globe Rebuilt, Cambridge University Press, 1997.
Mulryne, J. R. and Shewring, Margaret (eds.), Theatre of the English and Italian Renaissance, Basingstoke: Macmillan, 1991.
Mulryne, J. R. and Shewring, Margaret (eds.), Theatre and Government under the Early Stuarts, Cambridge University Press, 1993.
Myers, Alec R. (ed.), The Household Book of Edward IV: the Black Book and the Ordinance of 1478, Manchester University Press, 1959.
Nashe, Thomas, Works, ed. McKerrow, Ronald B., 11 vols., Oxford: Blackwell, 1958.
Nelson, A. H., Early Cambridge Theatres, Cambridge University Press, 1994.
Nelson, A. H., The Medieval English Stage: Corpus Christi Pageants and Plays, University of Chicago Press, 1974.
Niblett, Rosalind, Roman Hertfordshire, Stanbridge, Dorset: Dovecote Press, 1995.
Nichols, J. G. (ed.), Narratives of the Days of the Reformation, London: Camden Society, 1859.
Nicoll, Allardyce, British Drama: an Historical Survey from the Beginnings to the Present Time, rev. edn., New York: Thomas Crowell, 1933.
Noomen, William, Le Jeu d' Adam, Paris: H. Champion, 1971.
Norbrook, David, ‘ The reformation of the masque ’, in Lindley, (ed.), The Court Masque , 94–110 .
Norland, Howard B., Drama in Early Tudor Britain, 1485–1558, Lincoln: University of Nebraska Press, 1995.
Nungezer, Edwin, A Dictionary of Actors and other Persons associated with the Public Representation of Plays in England before 1642, New Haven, CT: Greenwood Press, 1927.
O'Connell, Michael, The Idolatrous Eye: Iconoclasm and Theater in Early-Modern England, Oxford University Press, 2000.
O'Connell, Michael, ‘ Vital cultural practices: Shakespeare and the mysteries ’, Journal of Medieval and Early Modern Studies 29 ( 1999), 149–68 .
Orgel, S., The Illusion of Power: Political Theater in the English Renaissance, Berkeley: University of California Press, 1975.
Orgel, S., Impersonations: the Performance of Gender in Shakespeare's England, Cambridge University Press, 1996.
Orgel, S., The Jonsonian Masque, Cambridge, MA: Harvard University Press, 1967.
Orgel, S., The Renaissance Imagination, Berkeley: University of California Press, 1975.
Orgel, Stephen and Strong, Roy (eds.), Inigo Jones: the Theatre of the Stuart Court, 2 vols., Berkeley: University of California Press, 1973.
Orlin, Lena Cowen, Private Matters and Public Culture in Post-Reformation England, Ithaca: Cornell University Press, 1994.
Orrell, John, ‘ The agent of Savoy at The Somerset Masque ’, Review of English Studies 28 ( 1977), 301–4 .
Orrell, John, ‘ Designing the Globe ’, in Mulryne, and Shewring, (eds.), Shakespeare's Globe Rebuilt , 51–66 .
Orrell, John, The Theatres of Inigo Jones and John Webb, Cambridge University Press, 1985.
Palmer, Barbara D., ‘ “Anye disguised persons”: parish entertainment in West Yorkshire ’, in Johnston, and Hüsken, , English Parish Drama .
Patrick, David (ed.), The Statutes of the Scottish Church 1225–1559, Edinburgh: T. & A. Constable, 1907.
Patterson, Annabel, Censorship and Interpretation: the Conditions of Writing and Reading in Early Modern England, Madison, WI: University of Wisconsin Press, 1984.
Peacock, John, ‘ Ben Jonson's masques and Italian culture ’, in Mulryne, and Shewring, (eds.), Theatre of the English and Italian Renaissance , 73–92 .
Peacock, John, ‘ Ben Jonson and the Italian festival books ’, in Mulryne, and Shewring, , Italian Renaissance Festivals , 271–88 .
Peacock, John, The Stage Designs of Inigo Jones: the European Context, Cambridge University Press, 1995.
Pearsall, Smith L. (ed.), The Life and Letters of Sir Henry Wotton, 2 vols., Oxford: Clarendon Press, 1907.
Pendry, E., Thomas Dekker, London: Edward Arnold, 1967.
Peterkin, Alexander (ed.), The Booke of the Universall Kirk of Scotland, Edinburgh: Edinburgh Printing and Publishing Co., 1839.
Phythian-Adams, Charles, ‘ Ceremony and the citizen: the communal year at Coventry, 1450–1550 ’, in Clark, and Slack, (eds.), Crisis and Order in English Towns, 1500–1700 , 57–85 .
Pitscottie, Robert Lindesay, The Historie and Cronicles of Scotland, ed. Mackay, A. E. J. G., Edinburgh: William Blackwood & Sons, 1899.
Potter, Lois, ‘ The plays and playwrights: 1642–60 ’, in Edwards, et al. (eds.), The Revels History of Drama in English , IV , 261–304 .
Raman, Shankar, Framing ‘India’: the Colonial Imaginary in Early Modern Culture, Stanford University Press, 2001.
Rappaport, S. L., Worlds within Worlds: Structures of Life in Sixteenth-Century London, Cambridge University Press, 1989.
Rasmussen, Eric, ‘ Setting down what the clown spoke: improvisation, Hand B, and The Book of Sir Thomas More ’, The Library 13 : 2 (June 1991), 126–36 .
Rasmussen, Eric, ‘ The revision of scripts ’, in Cox, and Kastan, (eds.), A New History of Early English Drama , 441–60 .
Rastall, Richard, The Heaven Singing: Music in Early English Religious Drama, 2 vols., Cambridge: D. S. Brewer, 1996.
Ravelhofer, Barbara, ‘ “Virgin Wax” and “Hairy Men Monsters”: unstable movement codes in the Stuart masque ’, in Bevington, and Holbrook, (eds.), The Politics of the Stuart Court Masque , 244–72
REED: Bristol , ed. Pilkinton, M. C., 1997.
REED: Cambridge , ed. Nelson, A. H., 2 vols., 1989.
REED: Chester , ed. Clopper, L. M., 1979.
REED: Coventry , ed. Ingram, R.W., 1981.
REED: Cumberland, Westmorland, Gloucestershire , ed. Douglas, A. and Greenfield, P., 1986.
REED: Devon , ed. Wasson, J., 1986.
REED: Herefordshire, Worcestershire , ed. Klausner, D. N., 1990.
REED: Newcastle-upon-Tyne , ed. Anderson, J. J., 1982.
REED: Norwich, 1540–1642 , ed. Galloway, D., 1984.
REED: Records of Early English Drama, University of Toronto Press
REED: Shropshire , ed. Somerset, J. A. B., 1994.
REED: Somerset , ed. Stokes, J., 2 vols., 1995.
REED: York , ed. Johnston, A. F. and Rogerson, M., 2 vols., 1979.
Riggio, Milla Cozart, The ‘Wisdom’ Symposium, New York: AMS Press, 1986.
Robinson, Hastings (ed.), The Zurich Letters, Cambridge University Press, 1842.
Ross, D. James, Musick Fyne: Robert Carver and the Art of Music in Sixteenth Century Scotland, Edinburgh: Mercat Press, 1993.
Roston, Murray, Biblical Drama in England from the Middle Ages to the Present Day, London: Faber and Faber, 1968.
Ruigh, R. E., Parliament of 1624, Cambridge, MA: Harvard University Press, 1971.
Runnalls, G. A., Les Mystères français imprimés, Paris: H. Champion, 1999.
Rutter, Carol Chillington, Documents of the Rose Playhouse, Manchester University Press, 1984.
Rylance, Mark, ‘ Playing the Globe ’, in Mulryne, and Shewring, (eds.), Shakespeare's Globe Rebuilt , 169–76 .
Sabol, A., Four Hundred Songs and Dances from the Stuart Masque, Hanover, NH: University Press of New England, 1982.
Sadie, Stanley (ed.), The New Grove Dictionary of Music and Musicians, 20 vols., London: Macmillan, 1980.
Sams, Eric, The Real Shakespeare: Retrieving the Early Years, 1564–1594, New Haven: Yale University Press, 1995.
Schell, E. and Shuchter, J. (eds.), English Morality Plays and Moral Interludes, New York: Holt, Rinehart and Winston, 1969.
Shakespeare, William, Henry V, ed. Gurr, Andrew, Cambridge University Press, 1992.
Shakespeare, William, Richard II, ed. Gurr, Andrew, Cambridge University Press, 1984.
Sharratt, P. and Walsh, P. G. (eds.), George Buchanan Tragedies, Edinburgh: Scottish Academic Press, 1983.
Shire, Helen Mennie, Song, Dance and Poetry of the Court of Scotland under King James VI, Cambridge University Press, 1969.
Shirley, James, Dramatic Works and Poems, ed. Gifford, W. and Dyce, A., 6 vols., London: Murray, 1833.
Shirley, James, The Bird in a Cage, ed. Senescu, F. F., New York: Garland, 1980.
Shrewsbury, J. F. D., A History of Bubonic Plague in the British Isles, Cambridge University Press, 1970.
Sidney, Philip, Prose Works, ed. Feuillerat, Albert, 4 vols., Cambridge University Press, 1963.
Siebert, Fred, The Freedom of the Press in England, 1476–1776, Urbana: University of Illinois Press, 1952.
Simon, Eckehard (ed.), The Theatre of Medieval Europe, Cambridge University Press, 1991.
Skura, Meredith, Shakespeare the Actor and the Purposes of Playing, University of Chicago Press, 1993.
Smoldon, William L., The Music of the Medieval Church Dramas, ed. Bourgeault, Cynthia, Oxford University Press, 1980.
Smoldon, William L., ‘ The origins of the quem quaeritis trope and the Easter sepulchre music-drama, as demonstrated by their musical settings ’, in Sticca, (ed.), The Medieval Drama , 121–54 .
Somerset, J. A. B., ‘ “How chances it they travel?”: provincial touring, playing places and the King's Men ’, Shakespeare Survey 47 ( 1994), 54–60 .
Somerset, J. A. B., ‘ Local drama and playing places at Shrewsbury: new findings from the borough records ’, Medieval and Renaissance Drama in England 2 ( 1985), 1–32 .
Soule, Lesley Wade, Actor as Anti-Character: Dionysus, the Devil and the Boy Rosalind, Westport, CT: Greenwood Press, 2000.
Southern, Richard, Changeable Scenery: its Origin and Development in the British Theatre, London: Faber and Faber, 1952.
Southern, Richard, The Staging of Plays before Shakespeare, London: Faber and Faber, 1973.
Southworth, J., Fools and Jesters at the English Court, Stroud: Sutton, 1998.
Spencer, T. J. B. and Wells, Stanley (eds.), A Book of Masques, Cambridge University Press, 1967.
Stevens, M. and Cawley, A. C. (eds.), The Towneley Plays, 2 vols., Oxford University Press, 1994.
Stevens, Martin, Four Middle English Mystery Cycles, Princeton University Press, 1987.
Sticca, Sandro, ‘ Christian drama and Christian liturgy ’, Latomus 26 ( 1967), 1025–34 .
Sticca, Sandro (ed.), The Medieval Drama, Albany: State University of New York Press, 1972.
Streitberger, W. R., Court Revels 1485–1559, University of Toronto Press, 1994.
Streitberger, W. R., ‘ Devising the revels ’, Early Theatre 1 ( 1998) 55–74 .
Streitberger, W. R., ‘ Financing court entertainments, 1509–1558 ’, Research Opportunities in Renaissance Drama 27 ( 1984), 21–45 .
Streitberger, W. R., ‘ Personnel and professionalization ’ in Cox, and Kastan, (eds.), A New History of Early English Drama , 337–56 .
Strong, Roy, Henry, Prince of Wales and England's Lost Renaissance, London: Thames and Hudson, 1986.
Tacitus, , The Complete Works, trans. Church, A. J. and Brodribb, W. J., ed. Hadas, M., New York: Random House, 1942.
Tennenhouse, L. (ed.), The Tudor Interludes: ‘Nice Wanton’ and ‘Impatient Poverty’, New York: Garland, 1984.
Tertullian, , The Writings of Septimus Florens Tertullianus, trans. and ed. Thelwell, S., Kaye, J. et al., Edinburgh: T. & T. Clark, 1869.
The Lisle Letters, ed. Byrne, Muriel St Clare, 6 vols., University of Chicago Press, 1981.
The Resurrection of Our Lord, ed. Wilson, J. Dover and Dobell, Bertram, Oxford University Press, 1912.
Thomson, Peter, Shakespeare's Professional Career, Cambridge University Press, 1992.
Thomson, Peter, Shakespeare's Theatre, London: Routledge, 1992.
Thomson, T. and Innes, C. (eds.), Acts of the Parliament of Scotland AD 1124(–1707), 12 vols., Edinburgh, 1814–75 .
Tittler, Robert, Architecture and Power: the Town Hall and the English Urban Community c.1500–1640, Oxford: Clarendon Press, 1991.
Travis, Peter, ‘ The social body of the dramatic Christ in medieval England ’, Acta 13 ( 1987), 18–36 .
Tricomi, Albert H., Anticourt Drama in England 1603–1642, Charlottesville: University of Virginia Press, 1989.
Tricomi, Albert H., ‘ The revised Bussy D'Ambois and The Revenge of Bussy D'Ambois : joint performance in thematic counterpoint ’, English Language Notes 9 ( 1972), 253–45 .
Trussler, Simon, Cambridge Illustrated History of British Theatre, Cambridge University Press, 1994.
Twycross, Meg (ed.), Festive Drama, Cambridge: D. S. Brewer, 1996.
Tydeman, William (ed.), The Medieval European Stage, 500–1550, Cambridge University Press, 2001.
Tydeman, William (ed.), The Theatre in the Middle Ages, Cambridge University Press, 1978.
Underdown, David, ‘ The taming of the scold: the enforcement of patriarchal authority in early modern England ’, in Fletcher, and Stevenson, (eds.), Order and Disorder in Early Modern England , 116–136 .
Veevers, Erica, Images of Love and Religion: Queen Henrietta Maria and Court Entertainments, Cambridge University Press, 1989.
Walker, Greg, Plays of Persuasion: Drama and Politics at the Court of Henry VIII, Cambridge University Press, 1991.
Walker, Greg, The Politics of Performance in Early Renaissance Drama, Cambridge University Press, 1998.
Walls, Peter, Music in the English Courtly Masque 1604–1640, Oxford University Press, 1996.
Wasson, John M., ‘ The English church as theatrical space ’, in Cox, and Kastan, (eds.), A New History of Early English Drama , 25–37 .
Webster, John, ‘ An excellent actor ’, Works, ed. Lucas, F. L., 4 vols., London: Chatto & Windus, 1927, IV , 42–3 .
Weimann, Robert, ‘ Le declin de la scène “indivisible” Elisabethaine: Beaumont, Fletcher et Heywood ’, in Jacquot, Konigson and Oddon, (eds.), Dramaturgie et société , 814–27 .
Weimann, Robert, Shakespeare and the Popular Tradition in the Theater: Studies in the Social Dimension of Dramatic Form and Function, Baltimore: Johns Hopkins University Press, 1978.
Welsford, Enid, The Court Masque, Cambridge University Press, 1927.
Welsford, Enid, The Fool, London: Faber and Faber, 1935.
Werstine, Paul, ‘ Close contrivers: nameless collaborators in early modern plays ’, in Magnusson, A. L. and McGee, C. E. (eds.), Elizabethan Theatre XV, Toronto: P. D. Meaney, 2002.
Werstine, Paul, ‘ Plays in manuscript ’, in Cox, and Kastan, (eds.), A New History of Early English Drama , 481–98 .
Westfall, Suzanne R., ‘ The chapel: theatrical performances in early Tudor great households ’, English Literary Renaissance 18 : 2 ( 1988), 171–93 .
Westfall, Suzanne R., Patrons and Performance: Early Tudor Household Revels, Oxford: Clarendon Press, 1990.
White, Martin, Renaissance Drama in Action, London: Routledge, 1998.
White, Paul Whitfield, ‘ “The actors are come hither”: literary analogues of itinerant player troupe procedures ’, Theatre Survey ( 1989), 56–68 .
White, Paul Whitfield, ‘ Reforming mysteries' end: a new look at Protestant intervention in English provincial drama ’, Journal of Medieval and Early Modern Studies 29 ( 1999), 121–48 .
White, Paul Whitfield (ed.), Reformation Biblical Drama in England, New York: Garland, 1992.
White, Paul Whitfield, Theatre and Reformation: Protestantism, Patronage, and Playing in Tudor England, Cambridge University Press, 1993.
White, Paul Whitfield and Westfall, Suzanne (eds.), Shakespeare and Theatrical Patronage in Early Modern England, Cambridge University Press, 2002.
Whitelocke, Bulstrode, Diary 1605–1675, ed. Spalding, Ruth, Oxford University Press, 1990.
Whitworth, C.W. (ed.), Three Sixteenth-Century Comedies, London: Ernest Benn, 1984.
Wickham, G., Berry, H. and Ingram, W. (eds.), English Professional Theatre, 1530–1660, Cambridge University Press, 2000.
Wickham, Glynne, Early English Stages, 3 vols., London: Routledge and Kegan Paul, 1959–80.
Wickham, Glynne, Shakespeare's Dramatic Heritage, London: Routledge and Kegan Paul, 1969.
Wiles, David, Shakespeare's Clown, Cambridge University Press, 1987.
Wiles, David, The Early Plays of Robin Hood, Cambridge: D. S. Brewer, 1981.
Williams, G. W. and Evans, G. B. (eds.), ‘The History of King Henry the Fourth’ as Revised by Sir Edward Dering, Charlottesville: University Press of Virginia, 1974.
Williams, William P., ‘ The Castle Ashby manuscripts ’, The Library 2 : 4 ( 1960), 391–412 .
Williamson, Eila, ‘ Drama and entertainment in Peebles in the fifteenth and sixteenth centuries ’, Medieval English Theatre 22 ( 2000), 127–44 .
Wilson, Derek, Sweet Robin: a Biography of Robert Dudley, Earl of Leicester 1533–1588, London: Hamish Hamilton, 1981.
Wiseman, Susan, Drama and Politics in the English Civil War, Cambridge University Press, 1998.
Womack, Peter, Ben Jonson, Oxford: Blackwell, 1986.
Womack, Peter, ‘ Imagining communities: theatres and the English nation in the sixteenth century ’, in Aers, (ed.), Culture and History 1350–1600 , 91–145 .
Worden, Blair, The Rump Parliament 1648–1653, Cambridge University Press, 1974.
Wright, Irene A. (ed.), Documents Concerning English Voyages to the Spanish Main, 1569–1580, London: Hakluyt Society, 1932.
Wright, James, Historia Histrionica: an historical account of the English stage showing the ancient use, improvement, and perfection of dramatic representations in this nation, London, 1699.
Wright, Louis B., ‘ The reading of plays during the puritan revolution ’, Huntington Library Bulletin 6 ( 1934), 73–112 .
Yachnin, Paul, ‘ The powerless theatre ’, English Literary Renaissance 21 ( 1991), 49–74 .
Yachnin, Paul, Stage-wrights: Jonson, Middleton, and the Making of Theatrical Value, Philadelphia: University of Pennsylvania Press, 1997.
Yates, Frances, The French Academies of the Sixteenth Century, London: The Warburg Institute, 1947.
Young, Karl, Drama of the Medieval Church, 2 vols., Oxford: Clarendon Press, 1933.