This wide-ranging study relates patronage to Shakespeare and the theatrical culture of his time. Twelve distinguished theater historians address such questions as--What important functions did patronage have for the theater during this period? How, in turn, did the theater impact on and represent patronage? In what ways do patronage, political power, and playing intersect? The authors also show how patronage practices changed and developed from the early Tudor period to the years in which Shakespeare was the English theater's leading artist.

In this book, Paul Whitfield White examines the interplay between theatre and religion in provincial England from the early Tudors to 1660. In challenging the critical narrative of secularization, suppression, and demise, he recasts the history of that drama in the light of fresh sources and scholarship. The project engages with recent interests in Shakespearean criticism concerning the theatrical culture of the north of England, where a documented contemporary touring troupe performed Shakespeare's plays in Catholic households. Defying the 'medieval/renaissance' divide of past drama/literature scholarship, the book begins in the early Tudor period, when parish revels flourished as part of a nationwide surge in religious fund-raising and charity. It proceeds with the argument that the history of early modern theatre in provincial society, as in London, remained vibrant and diverse for popular audiences in many parts of the country, and that religion contributed to that vitality and variety.

A fast and funny pirate romp for fans of Mr Gum and Barry Loser. Packed with comic art and more gags than you can wave a kipper at.A fully illustrated, laugh-out-loud pirate romp in which Emilie and her brother William set out to rescue their parents from the horrible and smelly pirate king McSNOTTBEARD. Whisked from the high seas, through prehistoric lands, into an evil wizard's castle and finally to the PIRATES' clifftop hideout, they must tackle dinosaurs, zombies, angry parrots, and at least one warlock...

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In this book, Paul Whitfield White examines the interplay between theatre and religion in provincial England from the early Tudors to 1660. In challenging the critical narrative of secularization, suppression, and demise, he recasts the history of that drama in the light of fresh sources and scholarship. The project engages with recent interests in Shakespearean criticism concerning the theatrical culture of the north of England, where a documented contemporary touring troupe performed Shakespeare's plays in Catholic households. Defying the 'medieval/renaissance' divide of past drama/literature scholarship, the book begins in the early Tudor period, when parish revels flourished as part of a nationwide surge in religious fund-raising and charity. It proceeds with the argument that the history of early modern theatre in provincial society, as in London, remained vibrant and diverse for popular audiences in many parts of the country, and that religion contributed to that vitality and variety.

During the past quarter of a century, the study of patronage-theatre relations in early modern England has developed considerably. This, however, is an extensive, wide-ranging and representative 2002 study of patronage as it relates to Shakespeare and the theatrical culture of his time. Twelve distinguished theatre historians address such questions as: What important functions did patronage have for the theatre during this period? How, in turn, did the theatre impact and represent patronage? Where do paying spectators and purchasers of printed drama fit into the discussion of patronage? The authors also show how patronage practices changed and developed from the early Tudor period to the years in which Shakespeare was the English theatre's leading artist. This important book will appeal to scholars of Renaissance social history as well as those who focus on Shakespeare and his playwriting contemporaries.