Studies of early modern English drama in print and performance have often prioritized or even fetishized first editions and first performances. Challenging ingrained assumptions about chronology, this collection focuses critical attention on the various ways that Renaissance drama was repeated and renewed. Ranging widely across the period, from the 1580s to the early 1700s, the chapters examine canonical plays and authors-including Shakespeare and Ben Jonson-outside of the contexts in which they are ordinarily viewed. The chapters also demonstrates the significance of texts, authors, and forms of evidence that have been critically neglected, from lost plays and music manuscripts to playgoers' diaries and multi-author 'nonce' anthologies. As a whole, the collection opens up new areas of study and offers fresh perspectives on questions of temporality, commerce, aesthetics, agency, and canon-formation.
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'Reprints and Revivals of Renaissance Drama is a true original in its deft, exhilarating explorations of what is not original. In shifting away from scholarship's focus on firsts and newness, and through beautifully crafted case studies, this book offers a profound methodological intervention in early modern theatre and book history.' Peter Kirwan, Professor of Shakespeare & Performance, Mary Baldwin University 'This is a remarkable collection, amply repaying its editors' wager that a focus on repetition-in the theatre or in print-can help us see early modern drama as if for the first time. Virtually every page offers a fresh reading of some familiar play or an eye-opening reading of an unfamiliar one.' Jeremy Lopez, Professor and Chair, Department of English, Montclair State University 'Plays were written for repeated outings, but our focus on first performances has hidden that fact. This riveting collection is on early modern plays in revival and reprint. Its incisive case studies on later audiences, readers and contexts offer new insights into the plurality of dramatic meaning.' Tiffany Stern, Professor of Shakespeare, The Shakespeare Institute, University of Birmingham
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Challenges widespread views on the primacy of first editions and performances to explore Renaissance drama's rich repetitions and renewals.
Introduction Eoin Price and Harry Newman; Part I. Logic of Renewal:
1.
1584: the first evidence for playhouse reprints and revivals? Andy Kesson;
2.
Alterations, Piracies and Nonce volumes: Shakespeare's print popularity, 1660
1700 Emma Depledge;
3. The malcontent and the records of revival Eoin Price;
Part II. Agents Of Renewal:
4. Henslowe on revivals Roslyn L. Knutson;
5.
Reviving by design: the Christmas season at court, 1621 1622 David Nicol;
6.
Reprinting Othello in republican England Justin Kuhn; Part III. The Appeal of
The Old:
7. Performing nostalgia: revivals of Jacobean plays at the court of
Charles I Catherine Clifford;
8. A century of English drama: restoration
reprints of Tudor plays Heidi Craig;
9. Cham's Beardofnd Tartar's bow:
staging Mongolia in and after the Elizabethan repertory Elizabeth E. Tavares;
Part IV. Making It New: Frames And Forms:
10. New worlds, old plots: Atlantic
conquest and the revised every man in his humour Andrew Bozio;
11. Musical
reinventions for the king's men Jennifer Moss Waghorn;
12. Frames without
pictures: Shirley's prologues and epilogues in poems &c (1646) Laura Estill;
Bibliography; Index.
Eoin Price is Lecturer in English Literature, 15001650 at the University of Edinburgh. He is the author of 'Public' and 'Private' Playhouses in Renaissance England (2015). He won the 2020 Calvin and Rose G. Hoffman Prize for Distinguished Publication on Christopher Marlowe. Harry Newman is Senior Lecturer in Shakespeare and Early Modern Literature at Royal Holloway, University of London. He is the author of Impressive Shakespeare: Identity, Authority and the Imprint in Shakespearean Drama (2019; shortlisted for University English Book Prize), and editor of 'Character Beyond Shakespeare' (special issue, Journal for Early Modern Cultural Studies 21.2, 2021).
