This is a ground-breaking edition of three seventeenth-century plays that all engage in diverse and exciting ways with questions of gender and performance. The collection, edited by three pioneering scholars of elite female culture and early modern drama, makes the texts of three much-discussed plays - John Fletcher's The Wild-Goose Chase, James Shirley's The Bird in a Cage and Margaret Cavendish's The Convent of Pleasure - available together in a full scholarly edition for the first time. The Wild Goose Chase (1621) and The Bird in a Cage (1633) were both performed in the commercial London theatres in the Jacobean and Caroline periods respectively. The Convent of Pleasure (1668) is a so-called 'closet' drama, designed primarily for reading but drawing on a tradition of aristocratic theatricals. In a wide-ranging co-authored introduction to the volume, the editors explore the concerns of these playtexts in relation to contemporary debates surrounding popular festivity and anti-theatricalism, as well as the agency of elite female culture in the Stuart period and the emergence of the professional female actor in the Restoration. The volume will be an invaluable teaching and research tool for students and scholars of early modern drama, women's writing and performance studies more generally, as well as providing a rich sourcebook for the reader interested in seventeenth-century theatrical culture. -- .

Royalist Women Writers aims to put women back on the map of seventeenth-century royalist literature from which they have habitually been marginalized. Looking in detail at the work of Margaret Cavendish, Katherine Philips, and Aphra Behn, it argues that their writings inaugurate a more assertive model of the Englishwoman as literary author, which is crucially enabled by their royalist affiliations. Chalmers reveals new political sub-texts in the three writers' work and shows how these inflect their representations of gender. In this way both their texts and manner of presenting themselves as authors emerges as freshly pertinent to their male and female royalist contemporaries for whom supporting them could be an act of political self-definition.

Brings together three much-discussed seventeenth-century plays in an accessible and scholarly edition for the first time, allowing for comparative and contextual studies A substantial co-authored introduction addresses questions of elite female culture in the early modern period and the emergence of the professional female actor All three editors have an established reputation in the field of seventeenth-century scholarship, and have produced pioneering work on elite female culture and the stage The volume is innovative in terms of its attention to questions of gender and performance as they are staged and explored in seventeenth-century drama Offers varied examples of theatrical practice and performance while also considering lines of interaction and influence between the writers and plays discussed