Kathryn M. Moncrief and Kathryn R. McPherson, Performing Pedagogy in Early Modern England: Gender, Instruction, and Performance. Burlington, VT and Farnham: Ashgate, 2011. 248 pp. £49.50. ISBN: 978-0754669418 (hb).

2014 ◽  
Vol 29 (2) ◽  
pp. 328-330
Author(s):  
M. Tyler Sasser
Keyword(s):  
Early Modern ◽  
Early Modern England ◽  
And Performance

Epilogue

2019 ◽  
pp. 203-208
Author(s):  
Katherine R. Larson
Keyword(s):  
Women Writers ◽  
Early Modern ◽  
Women's Writing ◽  
Early Modern England ◽  
Literary Studies ◽  
Critical Inquiry ◽  
And Performance ◽  
Digital Initiative ◽  
Women’S Writing

The Epilogue presents two central conclusions: (1) that song is a slippery and multidimensional form that demands to be considered in embodied, gendered, and performance-based terms, and (2) that song constituted a vital, and vitally charged, rhetorical medium for women writers, performers, and patrons in the sixteenth and seventeenth centuries. The Epilogue also open up future areas of critical inquiry, both in relation to early modern women’s writing and literary studies more broadly. In particular, it introduces Early Modern Songscapes, an emergent collaborative and interdisciplinary digital initiative that is responding directly to the methodological questions raised by The Matter of Song in Early Modern England.

scholarly journals ‘Come, now a roundel and a fairy song’: Shakespeare’s A Midsummer Night’s Dream and the early modern invitation to the dance

2018 ◽  
Vol 97 (1) ◽  
pp. 39-68
Author(s):  
Andrew Hiscock
Keyword(s):  
Early Modern ◽  
Early Modern England ◽  
Midsummer Night's Dream ◽  
A Midsummer Night's Dream ◽  
The Status ◽  
And Performance ◽  
And Function

This article considers the status and function of dance in one of Shakespeare’s best-known comedies. Equally importantly, it seeks to embed this playtext within the intense and multifaceted cultural debate surrounding dance and performance in early modern England. Dance is explored in legal, moral, philosophical and spiritual terms in the course of this discussion. In its final stages, this article also considers the appeal for dancing which the comedy has exercised for generations of performers down the centuries.

Prologue

2019 ◽  
pp. 1-31
Author(s):  
Katherine R. Larson
Keyword(s):  
Early Modern ◽  
Early Modern England ◽  
Literary Analysis ◽  
Musical Performance ◽  
Literary Texts ◽  
Embodied Experience ◽  
Methodological Challenges ◽  
Recording Process ◽  
And Performance ◽  
A Performance

The Prologue confronts the volatility and airy capriciousness of song as a performance medium and considers the methodological challenges of locating song’s musical and performance-based traces. Nuancing Carolyn Abbate’s influential notion of the “drastic” nature of musical performance, it argues for the necessity of factoring the embodied experience of song into literary analysis. The Prologue devotes particular attention to women’s engagement with song as a performance-based—and performative—genre in early modern England, a history whose richness is reflected in the companion recording. Even as the recording process exemplifies the impossibility of pinpointing the “drastic” in definitive terms, this acoustic archive—as well as the performers’ reflections on their experience of inhabiting the featured pieces—underscores the importance of tuning our ears to the musical matter of early modern literary texts, many of which were the products of embodied and musical processes of circulation.

Print, Manuscript, and Performance: The Changing Relations of the Media in Early Modern England

2001 ◽  
Vol 32 (2) ◽  
pp. 552
Author(s):  
Gregory Bak ◽  
Arthur F. Marotti ◽  
Michael D. Bristol
Keyword(s):  
Early Modern ◽  
Early Modern England ◽  
The Media ◽  
And Performance
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