The diary of Philip Henslowe, owner of the Rose Theatre in London during the 1590s, remains the most valuable source of information about the workings of the Elizabethan public theatres. Discussions of theatres and drama in the age of Shakespeare routinely refer to Henslowe, whose 'diary' touches on every aspect of the day-to-day operations of the Rose and the companies of actors, especially the Admiral's Men. The diary preserves the account-book of an Elizabethan theatre owner who was also the father-in-law of the leading actor, Edward Alleyn, and contains many miscellaneous and personal entries. The first edition of Henslowe's Diary, published in 1961, has long been out of print. It provides a thorough introduction to the manuscript, a full transcription of the document itself and several helpful appendices and indexes. For this second edition one of the original editors, R. A. Foakes, has added a new preface and reading list.
The diary of Philip Henslowe, owner of the Rose Theatre in London during the 1590s, remains the most valuable source of information about the workings of the Elizabethan public theatres. Discussions of theatres and drama in the age of Shakespeare routinely refer to Henslowe, whose 'diary' touches on every aspect of the day-to-day operations of the Rose and the companies of actors, especially the Admiral's Men. The diary preserves the account-book of an Elizabethan theatre owner who was also the father-in-law of the leading actor, Edward Alleyn, and contains many miscellaneous and personal entries. The first edition of Henslowe's Diary, published in 1961, has long been out of print. It provides a thorough introduction to the manuscript, a full transcription of the document itself and several helpful appendices and indexes. For this second edition one of the original editors, R. A. Foakes, has added a new preface and reading list.
Another clever criminal plunge into history' Guardian On a foggy morning in 1602, a boyhood friend of Nick Revill arrives in London. When Peter Agate announces that he wants to try his hand at acting, what can Nick do but offer him a part with his own company, the Chamberlain's Men, who are putting on a private production of Shakespeare's Troilus and Cressida for the lawyers of Middle Temple. Yet within days Peter Agate is dead, stabbed to death at Nick's lodgings - the beginning of a sequence of violent deaths, each somehow implicating Nick himself. To avoid the hangman's noose Nick must discover the real murderer among a cast of suspects, including an aristocratic brother and sister, a troublemaker from a rival company and an ex-actor who once saw the Devil himself on stage... The fourth historical murder mystery in the Nick Revill series, set in the bustling theatrical world of William Shakespeare. Praise for Philip Gooden: 'Highly entertaining' Sunday Times 'The witty narrative, laced with puns and word play so popular in this period, makes this an enjoyable racy tale' Sunday Telegraph 'The book has much in common with the film Shakespeare in Love - full of colourful characters . . . but the book has an underlying darkness' Crime Time 'Historical mystery fans are in for a treat' Publishers Weekly
The English Jacobean and Caroline playwright, Philip Massinger was celebrated for his comedic genius, finely plotted plays, social realism and incisive satire. Following the death of Shakespeare in 1616 and Fletcher in 1625, Massinger became the leading playwright of the King's Men's. His most popular and influential play, ‘A New Way to Pay Old Debts’ expresses a timeless indignation at economic oppression and social disorder, while ‘The City Madam’ deals with similar evils, combining naturalistic and symbolic modes. For the first time in publishing history, this eBook presents Massinger’s complete works, with numerous illustrations, rare plays and poetry, concise introductions and the usual Delphi bonus material. (Version 1) * Beautifully illustrated with images relating to Massinger’s life and works * Concise introductions to the major works * All 38 plays, with individual contents tables * Features many rare plays appearing for the first time in digital publishing * Includes Nicholas Rowe’s ‘The Fair Penitent’, the 1632 adaptation of Massinger’s ‘The Fatal Dowry’ * Excellent formatting of the plays * Useful Glossary of Jacobean Language * Massinger’s rare poetry, available in no other collection * Easily locate the poems and scenes you want to read * Features two biographies, including Cruickshank’s seminal study – explore Massinger’s intriguing life * Ordering of texts into chronological order and genres Please visit www.delphiclassics.com to browse our range of Elizabethan and Jacobean playwrights CONTENTS: The Solo Plays The Maid of Honour (c. 1621) The Duke of Milan (c. 1621) The Unnatural Combat (c. 1621) The Bondman (1623) The Renegado (1624) The Parliament of Love (1624) A New Way to Pay Old Debts (1625) The Roman Actor (1626) The Great Duke of Florence (1627) The Picture (1629) The Emperor of the East (1631) Believe as You List (c. 1631) The City Madam (1632) The Guardian (1633) The Bashful Lover (1636) Collaborations with John Fletcher Sir John van Olden Barnavelt (1619) The Little French Lawyer (c. 1619) A Very Woman (c. 1620) The Custom of the Country (c. 1620) The Double Marriage (c. 1620) The False One (c. 1620) The Prophetess (1622) The Sea Voyage (1622) The Spanish Curate (1622) The Lovers’ Progress; or, The Wandering Lovers (1623) The Elder Brother (c. 1625) Collaborations with John Fletcher and Francis Beaumont Thierry and Theodoret (c. 1607) The Coxcomb (1608) Beggars’ Bush (c. 1612) Love’s Cure (c. 1612) Collaborations with John Fletcher and Nathan Field The Honest Man’s Fortune (1613) The Queen of Corinth (c. 1616) The Knight of Malta (c. 1619) Collaboration with Nathan Field The Fatal Dowry (c. 1619) The Fair Penitent (1632) by Nicholas Rowe Collaboration with John Fletcher, John Ford, and William Rowley/John Webster The Fair Maid of the Inn (1626) Collaboration with John Fletcher, Ben Jonson and George Chapman Rollo Duke of Normandy, or The Bloody Brother (c. 1616) Collaboration with Thomas Dekker The Virgin Martyr (1620) Collaboration with Thomas Middleton and William Rowley The Old Law (c. 1615) The Poetry Miscellaneous Poems The Biographies Life of Massinger (1830) Philip Massinger (1920) by Alfred Hamilton Cruickshank Glossary of Jacobean Language Please visit www.delphiclassics.com to browse through our range of exciting titles or to purchase this eBook as a Parts Edition of individual eBooks
How was medieval English theatre performed? Many of the modern theatrical concepts and terms used today to discuss the nature of medieval English theatre were never used in medieval times. Concepts and terms such as character, characterisation, truth and belief, costume, acting style, amateur, professional, stage directions, effects and special effects are all examples of post-medieval terms that have been applied to the English theatre. Little has been written about staging conventions in the performance of medieval English theatre and the identity and value of these conventions has often been overlooked. In this book, Philip Butterworth analyses dormant evidence of theatrical processes such as casting, doubling of parts, rehearsing, memorising, cueing, entering, exiting, playing, expounding, prompting, delivering effects, timing, hearing, seeing and responding. All these concerns point to a very different kind of theatre to the naturalistic theatre produced today.
Highly entertaining' Sunday Times In the last decade of Elizabeth I's reign, Nick Revill, an aspiring young actor, comes to London seeking fame and fortune. Once there he gains employment with the Chamberlain's Men. Thrown out of his digs over an unfortunate accident, Nick is offered lodgings at a wealthy Thameside mansion by a black-clad youth whose father has just died and whose mother has remarried his uncle. Pondering on the similarities between the young man's story and William Shakespeare's newest tragedy, Hamlet, Nick is charged with the task of finding out whether foul play was involved in the death of the old man and hasty remarriage of his young, lusty wife. As Nick works his way ever closer to the truth, the finger of suspicion begins to point to his enigmatic employer Mr William Shakespeare - actor, author and shareholder in the Chamberlain's Men . . . The first gripping historical mystery in the Nick Revill series, set in the bustling theatrical world of William Shakespeare. Praise for Philip Gooden: 'Another clever criminal plunge into history' Guardian 'The witty narrative, laced with puns and word play so popular in this period, makes this an enjoyable racy tale' Sunday Telegraph 'The book has much in common with the film Shakespeare in Love - full of colourful characters . . . but the book has an underlying darkness' Crime Time 'Historical mystery fans are in for a treat' Publishers Weekly
This book explores how memories and traces of the reign of Richard III survived a century and more to influence the world and work of William Shakespeare, offering a new approach to the cultural history of the Tudor era, whilst shedding fresh light on the sources and preoccupations of Shakespeare's play.
From the beginning of the INTRODUCTION - History of the MS.: OF all documents illustrating the external history of the Elizabethan drama the most important that has escaped the ravages of time is undoubtedly the volume of miscellaneous accounts and memoranda commonly known as ''Henslowe''s Diary.'' The volume was first used by a certain John Henslowe for the entry of accounts of the felling and disposal of timber and other matters relating to Ashdown Forest. His accounts belong to the years 1576 to 1581. After this the book appears to have been laid by for some time, for we next find it in use by Philip Henslowe in London early in 1592. By him it was used for the entry of a variety of accounts and memoranda relating both to private affairs and to business transactions, dramatic and other, during the following eighteen years. The latest entry dates from 1609. In the meantime Edward Alleyn, who had married Henslowe''s step-daughter, retired from the stage about 1604, and some ten years later he founded the College of God''s Gift at Dulwich. Into his hands Henslowe''s papers, the Diary among them, passed, presumably on the latter''s death in 1616, and they thus found their way into the library of the College. Here they remained unmolested for more than a century and a half. It was not till 1780 that their existence became known to Edmond Malone, and when he then approached the authorities of Dulwich, the Diary proved to have been mislaid. Shortly before 1790, however, the MS. was discovered and entrusted to Malone, who was then engaged upon his ''Variorum'' edition of Shakespeare. He caused a transcript of such portions as he deemed of importance to be prepared, and of this he printed an abstract in the appendix to the ''History of the Stage'' prefixed to his edition (vol. I pt. ii. p. 288), with the addition of a few other documents from the same source. This transcript was collated with the original by Malone himself, and contains a variety of notes and corrections in his hand. He possibly intended to make more extended use of it in the revised edition of his Shakespeare, for which he spent many years collecting material, but which he left to James Boswell the younger to bring out after his death. Malone, it would appear, kept the original in his possession till his death in 1812, when it was returned to Dulwich by his literary executor." Boswell, however, when he published the revised ''Variorum'' of 1821 (vol. III. p. 295), appears merely to have reprinted the extracts as they stood in Malone''s previous edition, though the transcript was in his possession at the time and appeared in the sale of his books in 1825 (No. 3141). The transcript reappeared in the Heber sale, whence it passed into the possession of Sir Thomas Phillipps, and after his death again came into the market in 1895. On this last occasion it was purchased, on the recommendation of Dr. Warner, by the Governors of Dulwich College, and now forms part of that library. The next person, so far as is known, to make use of the MS. was J. P. Collier, who had recourse to it when engaged on his History of Dramatic Poetry (1831), and reprinted the whole, so far as it relates to dramatic affairs, for the Shakespeare Society in 1845. Since Collier''s edition appeared many scholars have inspected the volume either for the sake of the evidence it supplies concerning the conditions of the Elizabethan drama, or else attracted by the controversy which long raged round certain entries which were alleged to have been forged in it. The volume was described, and a careful though not quite complete list of the forgeries given, by Dr. G. F. Warner in his invaluable Catalogue of the Manuscripts and Muniments of Alleyn''s College of God''s Gift at Dulwich (1881). Finally, at the suggestion of Mr. A. H. Bullen, I applied, in the autumn of 1902, for permission from the Governors of the College to have the MS. temporarily deposited at the British Museum...
Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.
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