Book Review: Winter: A Book for the Season by Felicity Trotman

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 […]

Renaissance Clothing at the Victoria and Albert Museum

Exploring some of the fashion of Renaissance England at the V&A Museum in London.

Sutton House: A Tudor brick home through the centuries

My visit to Sutton House, a Tudor brick home in East London, in Hackney.

Performing at the Block: Scripting Early Modern Executions

This thesis explores the executions of noble men and women in Tudor and early Jacobean England and the theatrical representations of executions that mirrored real life spectacles of deadly punishment.

Exhuming Henry VIII's Court: The Tudor Household on the Jacobean Stage

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.

Play Houses: Drama at Bolsover and Welbeck

Between 1590 and 1634, a period more or less exactly coterminous with the great age of English Renaissance drama, a group of remarkable houses took shape in the north Midlands of England, on the borders of Nottinghamshire and Derbyshire.

The Meaning of Thunder and Lightning: Stage Directions and Audience Expectations

The linking of thunder and lightening with supernatural figures was not theatrical in origin; rather, the effects were a theatrical reproduction of unnatural disruptions generally believed to accompany the appearance and actions of figures such as witches, devils, and conjurers in the real world of the audience.

The house is hers, the soul is but a tenant': Material Self-Fashioning and Revenge Tragedy

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.

'An honest dog yet': Performing The Witch of Edmonton

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.

The Lost Archangel: A New View of Strafford

C.V. Wedgwood challenges the accepted view of Charles I’s fated minister, Thomas Wentworth.

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