Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
141
result(s) for
"Astington, John"
Sort by:
Actors and acting in Shakespeare's time : the art of stage playing
\"John Astington brings the acting style of the Shakespearean period to life, describing and analysing the art of the player in the English professional theatre between Richard Tarlton and Thomas Betterton. The book pays close attention to the cultural context of stage playing, the critical language used about it, and the kinds of training and professional practice employed in the theatre at various times over the course of roughly one hundred years - 1558-1660. Perfect for courses, this up-to-date survey takes into account recent discoveries about actors and their social networks, about apprenticeship and company affiliations, and about playing outside the major centre of theatre, London. Astington considers the educational tradition of playing, in schools, universities, legal inns, and choral communities, in comparison to the work of the professional players. A comprehensive biographical dictionary of all major professional players of the Shakespearean period is included as a handy reference guide\"-- Provided by publisher.
Book
Actors and Acting in Shakespeare's Time
John Astington brings the acting style of the Shakespearean period to life, describing and analysing the art of the player in the English professional theatre between Richard Tarlton and Thomas Betterton. The book pays close attention to the cultural context of stage playing, the critical language used about it, and the kinds of training and professional practice employed in the theatre at various times over the course of roughly one hundred years - 1558–1660. Perfect for courses, this survey takes into account recent discoveries about actors and their social networks, about apprenticeship and company affiliations, and about playing outside the major centre of theatre, London. Astington considers the educational tradition of playing, in schools, universities, legal inns, and choral communities, in comparison to the work of the professional players. A comprehensive biographical dictionary of all major professional players of the Shakespearean period is included as a handy reference guide.
eBook
William Vincent and His Performance Troupe, 1619–1649
Astington explores seventeenth-century English entertainer William Vincent and his performance troupe from 1619 to 1649. Recent attention to the evidently remarkable Vincent might be dated from 1993, when Richard Burt identified the connection between the man and his widely known contemporary stage name. Hocus Pocus, a fact not known toG. E. Bentley in writing his entry on Vincent for The Jacobean and Caroline Stag? in the 1940s. The first of two successive royal patents issued to Vincent was discovered by N. W. Bawcutt, who in 2000 published the new evidence of Vincent's earlier career and surveyed some of the many allusions to him that continued to appear until the end of the century.
Journal Article
Trade, taverns, and touring players in seventeenth-century bristol
The from playbill: the early The 1630s accompanying preserved at photograph the British Library shows a (C.18.e.2[74]), playbill dating in a large folio volume of miscellaneous items.1 The bill, some five and three-quarters by seven and a half inches in size (146 mm x 190 mm), shows the characteristics of a once common form of cheap print, composed in the black-letter type which marked public proclamations, catching the eye with its ornamental border and decorated initial capital, and detailing the attractions of the announced show, featuring rope walking and dancing by infant phenomena, and various kinds of juggling and legerdemain. Wine Street, nominated in the manuscript addition at the top of the bill, was at the centre of medieval and early modern Bristol, a busy hub of trade, commerce, and civic life; somewhere along its length was the Rose, the designated venue for the show. Wolfe was an innholder, as well as a cutler; his playhouse was not an inn, but he may have got the idea of a dedicated performance space from a tradition of temporary theatrical activity at Bristol inns. in seventeenth- century Bristol culture inns otherwise appear to have been both important investments and common places of business: merchants met at inns to settle debts and arrange shared ventures. The playbill discussed here sheds further light not only on the career of William Vincent, the geographical scale of his activity, and the range of his performative and managerial skills, but also on the particular enterprise of the contemporary Bristol prosperous bourgeoisie, whose investment in the hospitality industry, as we now call it, extended to collaborating with travelling entertainers.
Journal Article
An Afterpiece and its Afterlife: a Jacobean Jig with text
This essay analyses and discusses the entire or partial text of a theatrical jig preserved in a bill of complaint filed in the Court of Star Chamber in 1616. The defendant in the libel case, a servingman named George James, claimed in his defence that the verses he was charged with singing were not his invention, but those of a jig belonging to Prince Henry's company of players (and hence dating from before late 1612), and that they had been licensed, for performance and presumably for subsequent publication, by the Master of the Revels. The text of the jig, rhymed lines about a deviant female character, something of a \"roaring girl,\" is of interest in the contexts of Prince Henry's men's other known repertory, of the scope of theatrical taste and censorship, and of the reputation of the Fortune playhouse, which in 1612 attracted the attention of the Middlesex magistrates for its \"lewd\" and rioutous jig performances. Full transcriptions of the legal documents and an edited version of the lines of the jig itself supplement our limited knowledge of a popular genre of sixteenth- and seventeenth-century theatrical entertainment, also enjoyed and approved, it seems, in elite circles.
Journal Article
Going at the theatre: toilet facilities in the early playhouses
Containers were certainly provided for actors when they gave performances at court and were restricted for some hours to the relatively small spaces of temporary tiring houses. [...]in 1573-74 the Revels Office paid for \"A close stoole for the Maskers & Players &c. to vse at the Coorte\" (Feuillerat 205). Playgoers, various sources suggest, had either to bring along their own provisions for the excretion and disposal of bodily waste, or had to rely on whatever private enterprises might have sprung up to meet the need, for a price.2 Two early modern illustrations in particular give some idea of the management of sanitary matters in shared social spaces during the heyday of the London playhouses before the 1640s.
Journal Article
Venus on the Thames
Before that date the Henrican tapestry collection, partly funded by the profits of the Dissolution, provided the chief claim of the English court to patronage of the fine graphic arts, especially so before the 1620s, and certain famous sets and designs were repeatedly displayed on ceremonial and state occasions until the outbreak of the civil wars.5 The Triumph of Venus (illustration between pages 128 and 129) was among the tapestries at Whitehall Palace when Henry died; it was then removed for storage at the Tower, but as a part of a series of richly woven and elegantly designed works it must have been employed for the decoration of the court many times over the course of the following century.6 Two of the tapestries from Henry's series, Hercules and Bacchus, survive, and may today be seen at Hampton Court.7 The Venus of the collection has been lost, and the photograph reproduced here is of a later weaving from the same cartoons, completed in the 1560s. A full set of the Geubels group, then surviving, was subsequently copied in the late seventeenth century by Noel Coypel for the Gobelins workshop, and the survival of that set provides the visual link with all of the originals.9 The Tudor set was made up of seven tapestries only, and became known in inventories as the Antiques; the omitted design is likely to have been one of the more fully allegorical triumphs, Faith among the Virtues, and Grammar among the Liberal Arts - hardly subjects of classical myth, and likely to have been a specification of the papal programme for the series.\\n33 The general conception is a Roman victory triumph: trophies of arms, armour, and further bound captives appear over the arch framing Mars, and the lowest lateral band is filled with human figures and animals bearing spoils.
Journal Article
