This book couldn’t have come at a better time. Felicity Trotman has gathered some of the best stories, recipes, poems, and diary entries about the season in one fantastic book: Winter: A Book for the Season. From the Anglo-Saxon Chronicle, to pieces Samuel Pepys, Charles Dickens, and Dan Runyon, this delightful collection spans across the […]
Exploring some of the fashion of Renaissance England at the V&A Museum in London.
My visit to Sutton House, a Tudor brick home in East London, in Hackney.
By revisiting the recent past of Henry’s reign, the plays construct the events as a historical past, distinct and separate from the present. Early modern performance presents, reshapes, and diverges from the collective memory of a diverse socio-economic populace. Plays about recent history offer both a form of remembrance and construction of a memory for the historical moment brought to life on stage.
Playing dead, however, is not merely a staging issue, though performance of a single character in two simultaneous but separate locations is a legitimate concern, both metaphysical and staging, since playing dead also poses eschatological and ontological challenges to neoplatonism, stoicism, and Christian theology, frameworks within which many Jacobean and revenge plays are conceived.
At the climax of Dekker, Ford, and Rowley’s 1621 tragedy The Witch of Edmonton, the devil treats a young morris dancer named Cuddy Banks to a discourse on the relationship between the everyday world in which Cuddy lives and the demonic realm over which he himself reigns.
C.V. Wedgwood challenges the accepted view of Charles I’s fated minister, Thomas Wentworth.