Related Research Articles
The English Renaissance theatre or Elizabethan theatre was the theatre of England from 1558 to 1642. Its most prominent playwrights were William Shakespeare, Christopher Marlowe and Ben Jonson.
This article contains information about the literary events and publications of 1653.
William Rowley was an English Jacobean dramatist, best known for works written in collaboration with more successful writers. His date of birth is estimated to have been c. 1585; he was buried on 11 February 1626 in the graveyard of St James's, Clerkenwell in north London.
Rollo Duke of Normandy, also known as The Bloody Brother, is a play written in collaboration by John Fletcher, Philip Massinger, Ben Jonson and George Chapman. The title character is the historical Viking duke of Normandy, Rollo. Scholars have disputed almost everything about the play; but it was probably written sometime in the 1612–24 era and later revised, perhaps in 1630 or after. In addition to the four writers cited above, the names of Nathan Field and Robert Daborne have been connected with the play by individual scholars.
Henry Glapthorne was an English dramatist and poet, baptized in Cambridgeshire, the son of Thomas Glapthorne and Faith née Hatcliff. His father was a bailiff of Lady Hatton, the wife of Sir Edward Coke. Before turning 14, Henry Glapthorne had matriculated as a pensioner at Corpus Christi College, Cambridge, but there is no record of him ever taking a degree. From then until he emerges as a playwright in the mid-1630s, little is known of him. There is evidence that he may have been employed as a groom-porter in a nobleman's household for some of that time – a later document refers to him as "Glapthorne the Porter" – but there is nothing conclusive.
John Fletcher was an English playwright. Following William Shakespeare as house playwright for the King's Men, he was among the most prolific and influential dramatists of his day; during his lifetime and in the Stuart Restoration, his fame rivalled Shakespeare's. Fletcher collaborated in writing plays, chiefly with Francis Beaumont or Philip Massinger, but also with Shakespeare and others.
In Renaissance-era London, playing company was the usual term for a company of actors. These companies were organised around a group of ten or so shareholders, who performed in the plays but were also responsible for management. The sharers employed "hired men" – that is, the minor actors and the workers behind the scenes. The major companies were based at specific theatres in London; the most successful of them, William Shakespeare's company the King's Men, had the open-air Globe Theatre for summer seasons and the enclosed Blackfriars Theatre in the winters. The Admiral's Men occupied the Rose Theatre in the 1590s, and the Fortune Theatre in the early 17th century.
Elizabethan literature refers to bodies of work produced during the reign of Queen Elizabeth I (1558–1603), and is one of the most splendid ages of English literature. In addition to drama and the theatre, it saw a flowering of poetry, with new forms like the sonnet, the Spenserian stanza, and dramatic blank verse, as well as prose, including historical chronicles, pamphlets, and the first English novels. Major writers include William Shakespeare, Edmund Spenser, Christopher Marlowe, Richard Hooker, Ben Jonson, Philip Sidney and Thomas Kyd.
William Beeston was an English actor and theatre manager, the son and successor to the more famous Christopher Beeston.
Beeston's Boys was the popular and colloquial name of The King and Queen's Young Company, a troupe of boy actors of the Caroline period, active mainly in the years 1637–1642.
Prince Charles's Men was a playing company or troupe of actors in Jacobean and Caroline England.
William Hart was an English actor during the reign of Charles I and purportedly the father of the Restoration actor Charles Hart.
Queen Henrietta's Men was an important playing company or troupe of actors of the Caroline era in London, England. At their peak of popularity, Queen Henrietta's Men were the second leading troupe of the day, after only the King's Men.
The Fortune Playhouse was an historic theatre in London. It was located between Whitecross Street and the modern Golden Lane, just outside the City of London. It was founded about 1600, and suppressed by the Puritan Parliament in 1642.
The Virgin Martyr is a Jacobean era stage play, a tragedy written by Thomas Dekker and Philip Massinger, and first published in 1622. It constitutes a rare instance in Massinger's canon in which he collaborated with a member of the previous generation of English Renaissance dramatists – those who began their careers in the 1590s, the generation of Shakespeare, Lyly, Marlowe and Peele.
The Fairy Knight, or Oberon the Second is an early Stuart era stage play, a comedy of uncertain and problematic authorship. Never published in its historical period, the play existed only in a manuscript, which is now MS. V.a.128 in the collection of the Folger Shakespeare Library in Washington, D.C.
Thomas Pollard was an actor in the King's Men – a prominent comedian in the acting troupe of William Shakespeare and Richard Burbage.
Andrew Cane — also Kayne, Kene, Keine, and other variants — was a comic actor in late Jacobean and Caroline era London. In his own generation he was a leading comedian and dancer, and one of the famous and popular performers of his time.
Ellis Worth, or Woorth, was a noted English actor in the Jacobean and Caroline eras. He was a leading member of two important companies, Queen Anne's Men and Prince Charles's Men.
Professor Thomas J. King Jr. was an educator, and an early user of word processing and sequence analysis to compare available early versions of William Shakespeare's plays for identification of variant texts and their analysis. Dr. King's historical work also researched original prompt copies of Elizabethan Era and Jacobean Era plays contemporary to Shakespeare, along with their marginalia, in order to identify stage directions and infer physical staging of Shakespeare's plays at the Globe and other London venues, as well as at provincial halls and inns where Elizabethan troupes performed on tour. In his extensive studies, Prof. King created databases of every Shakespeare play and other extant Elizabethan contemporary playhouse documents, by scene and character, to determine number of lines, and therefore the roles that could be doubled with sufficient time between for costume change, thus enabling him to determine the size of a working Elizabethan theater company.
References
- ↑ "APS Member History". search.amphilsoc.org. Retrieved 2022-09-12.
- ↑ "Book of Members, 1780–2010: Chapter B" (PDF). American Academy of Arts and Sciences. Archived from the original (PDF) on 2011-11-10. Retrieved June 15, 2011.
- ↑ Obituary, New York Times, July 27, 1994
- ↑ University of Toronto, G.E. Bentley Fonds
