A Companion to Renaissance Drama

This expansive, inter-disciplinary guide to Renaissance plays and the world they played to gives readers a colorful overview of England's great dramatic age.

• Provides an expansive and inter-disciplinary approach to Renaissance plays and the world they played to.
  
• Offers a colourful and comprehensive overview of the material conditions of England's most important dramatic period.
  
• Gives readers facts and data along with up-to-date interpretation of the plays.
  
• Looks at the drama in terms of its cultural agency, its collaborative nature, and its ideological complexity.

Content:
Chapter 1 The Politics of Renaissance England (pages 11–24): Norman Jones
Chapter 2 Political Thought and the Theater, 1580–1630 (pages 25–39): Annabel Patterson
Chapter 3 Religious Persuasions, c.1580–c.1620 (pages 40–49): Lori Anne Ferrell
Chapter 4 Social Discourse and the Changing Economy (pages 50–67): Lee Beier
Chapter 5 London and Westminster (pages 68–82): Ian W. Archer
Chapter 6 Vagrancy (pages 83–92): William C. Carroll
Chapter 7 Family and Household (pages 93–108): Martin Ingram
Chapter 8 Travel and Trade (pages 109–120): William H. Sherman
Chapter 9 Everyday Custom and Popular Culture (pages 121–134): Michael Bristol
Chapter 10 Magic and Witchcraft (pages 135–144): Deborah Willis
Chapter 11 Playhouses (pages 145–161): Herbert Berry
Chapter 12 The Transmission of an English Renaissance Play?Text (pages 163–179): Grace Ioppolo
Chapter 13 Playing Companies and Repertory (pages 180–192): Roslyn L. Knutson
Chapter 14 Must the Devil Appear?: Audiences, Actors, Stage Business (pages 193–211): S. P. Cerasano
Chapter 15 “The Actors are Come Hither”: Traveling Companies (pages 212–222): Peter H. Greenfield
Chapter 16 Jurisdiction of Theater and Censorship (pages 223–236): Richard Dutton
Chapter 17 Medieval and Reformation Roots (pages 237–256): Raphael Falco
Chapter 18 The Academic Drama (pages 257–265): Robert S. Knapp
Chapter 19 “What Revels are in Hand?”: Performances in the Great Households (pages 266–280): Suzanne Westfall
Chapter 20 Progresses and Court Entertainments (pages 281–293): R. Malcolm Smuts
Chapter 21 Civic Drama (pages 294–313): Lawrence Manley
Chapter 22 Boy Companies and Private Theaters (pages 314–325): Michael Shapiro
Chapter 23 Revenge Tragedy (pages 326–335): Eugene D. Hill
Chapter 24 Staging the Malcontent in Early Modern England (pages 336–352): Mark Thornton Burnett
Chapter 25 City Comedy (pages 353–366): John A. Twyning
Chapter 26 Domestic Tragedy: Private Life on the Public Stage (pages 367–383): Lena Cowen Orlin
Chapter 27 Romance and Tragicomedy (pages 384–398): Maurice Hunt
Chapter 28 Gendering the Stage (pages 399–415): Alison Findlay
Chapter 29 Closet Drama (pages 416–430): Marta Straznicky
Chapter 30 Continental Influences (pages 432–445): Lawrence F. Rhu
Chapter 31 Christopher Marlowe (pages 446–463): Emily C. Bartels
Chapter 32 Ben Jonson (pages 464–481): W. David Kay
Chapter 33 Sidney, Cary, Wroth (pages 482–506): Margaret Ferguson
Chapter 34 Thomas Middleton (pages 507–523): John Jowett
Chapter 35 Beaumont and Fletcher (pages 524–539): Lee Bliss
Chapter 36 Collaboration (pages 540–552): Philip C. McGuire
Chapter 37 John Webster (pages 553–566): Elli Abraham Shellist
Chapter 38 John Ford (pages 567–583): Mario Digangi