Clifford Davidson

One of the greatest medieval drama cycles in England was mounted annually at Coventry at Corpus Christi until suppressed in 1579 and is of particular importance because it was almost certainly seen by William Shakespeare when he was a boy in nearby Stratford-upon-Avon.

The study of the early art of England can be frustrating for scholars, as the destruction by iconoclasm and neglect was very thorough in certain regions. Aids those studying the early art, including relics and musical iconography, of Coventry, Stratford-upon-Avon, Warwick, and other Warwickshire locations. 71 illustrations and 2 map.

Eight iconographic studies by American, Australian, and British scholars that focus on Shakespeare and his contemporaries and on the interconnectedness of their art with the visual language of their time. Reprinted from Comparative Drama.

Faced with death's certainty-and the uncertainty of the time of its coming, particularly in a historical period of widespread plague and other afflictions, what is one to do? Everyman speaks to this dilemma.This facing page translation of this Continental play will be useful to all students of theater.

Each essay covers a unique topic in the study of the Playbook, utilizing a diverse set of methodological tools and interdisciplinary approaches for subjects which have not heretofore received adequate scholarly attention. The topics at hand are each of significant interest to the field at large.

The Fool in the Middle Ages and Early Modern period was either a person who capitalized on his natural deficiencies, which were then considered amusing, or a professional entertainer who specialized in clowning. His role is best known to us through the plays of Shakespeare. Indispensable analyses of the Fool from a number of different perspectives.

The first book to present sensible, penetrating, and wide-ranging discussions of the gestural effects that were integral to the early stage. Considers the influence of classical rhetoric and reference to medieval texts and documents. Of great importance for every serious theater historian or student of art concerned with the late Middle Ages.

The radical Protestantism that led to the suppression of religious drama in England also destroyed perhaps the majority of ecclesiastical art in the country. The essays in this book provide analysis of the intellectual and religious motivation as well as new historical information concerning this phase of iconoclasm.

Articles drawn from papers presented at the Sixth Triennial Colloquium of the International Society for the Study of the Medieval Theatre. The connections between medieval art and drama are explored in topics ranging from English mystery plays to the Assumption to the Cuzco Corpus Christi paintings.

This richly illustrated book surveys representations of the stage and acting from manuscript illuminations, stained glass, sculpture, woodcarving, wall paintings, and the woodcuts that appear in playbooks produced by the first English printers.