What was it like to be a prisoner in Georgian London? At a recent London Historians gathering, I had the opportunity to listen to several papers about English prison life, old and new in, “Crime and Punishment – The Capital in the Clink”.
Nell always remained faithful to the King. He was her greatest friend.
For young boys living in Elizabethan London, one of the dangers they faced was being kidnapped by theatre owners and forced to perform. This practice was even supported by Queen Elizabeth I.
Shakespeare’s experience as a shareholder in a theatre company transformed the way he wrote characters, an English literature expert has claimed.
Ancient kings were a favorite subject of the playwrights of early modern England. There was, however, a conspicuous absence in this theatrical pageant of monarchy.
"The lying'st knave in Christendom": The Development of Disability in the False Miracle of St. Alban's
What none of these studies have examined, however, is the performance of disability at the center of the St. Alban’s episode.
Amidst non-textuality and the resulting shortage of extant scores to serve as documentation of musical activity, even the most restrained speculative approach still leads to the conclusion that music and musicians were crucial both to the emergence of the interlude as a genre of household entertainment and in the actual performance of interludes.
Revels were the result of collaboration by painters, sculptors, costume designers, poets, composers, artisans, and labourers in relation to whom an appointed supervisor (beginning in 1510 called the master of the revels) stood as what we might call executive producer and director.