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This book explores how theatrical practices shaped the multiplying
forms of conversion that emerged in early modern Europe. Each
chapter focuses on a specific city or selection of cities including
Venice, London, Mexico City, Madrid and Berne. Collectively, these
studies establish a picture of early modernity as an age teeming
with both excitement and anxiety over conversional activities.
Considering the commercial theatre that produced professional
dramatists such as Lope de Vega and Thomas Middleton, the book
surveys a wide variety of kinds of performances that brought
theatricality into formative relationships with conversional
practices. As a whole, the volume addresses issues of conversion as
it pertains to early modern theatre, literature, theology,
philosophy, economics, urban culture, globalism, colonialism, trade
and cross-cultural exchange.
This volume asks, how did theatrical practice shape the multiplying
forms of conversion that emerged in early modern Europe? Each
chapter focuses on a specific city or selection of cities,
beginning with Venice, then moving to London, Mexico City,
Tlaxcalla, Seville, Madrid, Amsterdam, Zurich, Berne, and Lucerne
(among others). Collectively, these studies establish a picture of
early modernity as an age teeming with both excitement and anxiety
over conversional activity. In addition to considering the
commercial theater that produced professional dramatists such as
Lope de Vega and Thomas Middleton, the volume surveys a wide
variety of kinds of theatre that brought theatricality into
formative relationship with conversional practice. Examples range
from civic pageantry in Piazza San Marco, to mechanical statues in
Amsterdam's pleasure labyrinths, to the dramatic dialogues
performed by students of rhetoric in colonial Mexico. As a whole,
the volume addresses issues of conversion as it pertains to early
modern theatre, literature, theology, philosophy, economics, urban
culture, globalism, colonialism, trade, and cross-cultural
exchange.
This book takes a close look at Shakespeare's engagement with the
flurry of controversy and activity surrounding the concept of
conversion in post-Reformation England. For playhouse audiences
during the period, conversional thought encompassed a markedly
diverse, fluid amalgamation of ideas, practices, and arguments
centered on the means by which an individual could move from one
category of identity to another. In an analysis that includes
chapter-length readings of The Taming of the Shrew, Henry IV Part
I, The Merchant of Venice, Othello, and The Tempest, the book
argues that Shakespearean drama made a unique and substantive
intervention in public discourse surrounding conversion, and
continues to speak meaningfully about conversional experience for
audiences in the present age. It will be of particular benefit to
students and scholars with an interest in theatrical history,
performance theory, theology, cultural studies, race studies, and
gender studies.
Teaching Shakespeare through performance has a long history, and
active methods of teaching and learning are a logical complement to
the teaching of performance. Virtual reality ought to be the
logical extension of such active learning, providing an unrivalled
immersive experience of performance that overcomes historical and
geographical boundaries. But what are the key advantages and
disadvantages of virtual reality, especially as it pertains to
Shakespeare? And more interestingly, what can Shakespeare do for VR
(rather than vice versa)? This Element, the first on its topic,
explores the ways that virtual reality can be used in the classroom
and the ways that it might radically change how students experience
and think about Shakespeare in performance.
The Media Players: Shakespeare, Middleton, Jonson, and the Idea of
News builds a case for the central, formative function of
Shakespeare's theater in the news culture of early modern England.
In an analysis that combines historical research with recent
developments in public sphere theory, Dr. Stephen Wittek argues
that the unique discursive space created by commercial theater
helped to foster the conceptual framework that made news possible.
Dr. Wittek's analysis focuses on the years between 1590 and 1630,
an era of extraordinary advances in English news culture that
begins with the first instance of serialized news in England and
ends with the emergence of news as a regular, permanent fixture of
the marketplace. Notably, this period of expansion in news culture
coincided with a correspondingly extraordinary era of theatrical
production and innovation, an era that marks the beginning of
commercial theater in London, and has left us with the plays of
William Shakespeare, Ben Jonson, and Thomas Middleton.
The Media Players: Shakespeare, Middleton, Jonson, and the Idea of
News builds a case for the central, formative function of
Shakespeare's theater in the news culture of early modern England.
In an analysis that combines historical research with recent
developments in public sphere theory, Dr. Stephen Wittek argues
that the unique discursive space created by commercial theater
helped to foster the conceptual framework that made news possible.
Dr. Wittek's analysis focuses on the years between 1590 and 1630,
an era of extraordinary advances in English news culture that
begins with the first instance of serialized news in England and
ends with the emergence of news as a regular, permanent fixture of
the marketplace. Notably, this period of expansion in news culture
coincided with a correspondingly extraordinary era of theatrical
production and innovation, an era that marks the beginning of
commercial theater in London, and has left us with the plays of
William Shakespeare, Ben Jonson, and Thomas Middleton.
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