Citations and Usage
Conferences, symposia, seminars, etc.
Symposium: “A Symposium on Early Modern Verbatim Theatre”, The Anatomy Museum, King’s College London (Strand Campus), 6 May 2016, 12.30pm-5.30pm:
In a series of short talks, a roundtable, and a performance workshop, this interdisciplinary symposium will explore the intersections between the study of early modern ‘lost’ plays and contemporary theatrical practice, drawing on the expertise of early modern theatre scholars, social historians, and verbatim theatre practitioners. Join us as we experiment with staging records from a disturbing Jacobean lawsuit surrounding the mistreatment of an elderly widow, Anne Elsdon. This controversial lawsuit led to a play by Dekker, Ford, Rowley and Webster, Keep the Widow Waking, for performance at the Red Bull playhouse. The play is now lost, but the records will survive; this symposium will explore whether we can approach these records as a performance text, creating a form of early modern verbatim theatre. Participants include Professor Laura Gowing (KCL), Dr Maggie Inchley (QMUL), Dr Sylvan Baker (Central), Ben Hadley (On the Button Theatre), and Harriet Madeley (author of The Listening Room), and actors Virginia Denham, Simona Bitmate, Andrew Murton, and George Johnston. The event is organised by Dr Lucy Munro (KCL) and Dr Emma Whipday (UCL).
Seminar: “Lost Plays and their Contexts”, led by Roslyn L. Knutson, David McInnis and Matthew Steggle at the 45th annual meeting of the Shakespeare Association of America, 5-8 April 2017, Atlanta, Georgia:
From “Cardenio” to Martin Wiggins’s British Drama: A Catalogue to the Lost Plays Database, over the last five years lost drama has become a topic of increasing interest and urgency in Shakespeare studies. This new field has been made possible by various factors: the rise of repertory studies and historicized performance studies; changing ideas of how a playscript relates to a play (something exemplified by Tiffany Stern’s book Documents of Performance); and the availability of new digital resources. New models are emerging of how to think about plays whose script is not extant. This seminar asks: can we further develop these models and techniques, and can we extend them beyond London playhouses to lost works other than drama?
Seminar: “Lost Plays in Early Modern England”, led by David McInnis and Matthew Steggle at the 41st annual meeting of the Shakespeare Association of America, 27-30 March 2013, Toronto, Ontario:
There are at least 550 early modern plays for which there survives some evidence, but not a full playscript. Papers in this seminar might attend to specific lost plays, considering repertory practices, playhouses and playing companies, audiences and playwrights. Alternatively, participants may engage with issues pertaining to “clumping” vs. “splitting” of titles; what it means to speculate “responsibly” about lost plays; the nature of scholarly collaboration in researching lost plays; the role of digital resources in theater history.
Nicol, David. “A Tragedy of the Plantation of Virginia”, in the “Shakespearean Scene Writing” workshop led by Scott Maisano at the 2015 meeting of the Shakespeare Association of America (SAA) in Vancouver, Canada:
This scene attempts to imaginatively resurrect a tantalizing lost anonymous play entitled A Tragedy of the Plantation of Virginia, licensed by the Master of the Revels in 1623. This enigmatic entry has been the object of much fascination, because if it had survived, The Plantation of Virginia would have been the earliest known English play to be set in the North American colonies. As it is, that honour goes instead to Aphra Behn’s Widow Ranter, written some sixty years later. Given its date, the play was most likely about the Jamestown Massacre of 1622, but I have decided instead to imagine that it was about Pocahontas and Captain John Smith; after all, Smith himself claimed in 1630 that he was moved to publish his memoirs because “they have acted my fatall Tragedies upon the Stage”. My intention, then, was to imagine what a 1620s play about Pocahontas might have been like and to attempt to write a scene from it. The scene in question is from the beginning of Act 5 and dramatizes Smith’s awkward and enigmatic encounter with Pocahontas and her husband John Rolfe at a social gathering in Brentford shortly before her death. The direct sources include Smith’s memoirs and other Jacobean narratives of Pocahontas and the Jamestown colony. The scene also borrows and reworks passages from John Fletcher's The Island Princess and Michael Drayton's Poly-Olbion.
Castaldo, Annalisa and Rhonda Knight, “Hiding in Plain Sight: Eavesdropping and the Physicality of the Stage” in Castaldo and Knight, eds. Stage Matters: Props, Bodies, and Space in Shakespearean Performance. London: Fairleigh Dickinson UP, 2018. 124.
Cheta, Arun. “References to the Theatre in An Almond for a Parrat”, Notes & Queries advance access published 24 Jan 2018.
Stiegler, Bernard. “Our Automated Lives: An Interview with Denis Podalydès”. Transcribed and translated by Nicholas Chare, Marcel Swiboda and Nicole Tremblay. Liminalities: A Journal of Performance Studies 14.1 (2018): 229-47. http://liminalities.net/14-1/automated.pdf
Werth, Tiffany Jo and Nathan Szymanski. "The Converted Robber, or Stonehenge, a Pastoral", ELR 48.2 (2018): 191–255.
Carnegie, David, David Gunby, Antony Hammond, and MacDonald P Jackson, Gen. Eds., Northward Ho in The Works of John Webster, vol. 4 (Cambridge University Press, 2017).
Gieskes, Ed. “A Survey of Resources: Teaching Edward II” in Kirk Melnikoff, ed. Edward II: A Critical Reader. London: Bloomsbury / Arden Shakespeare, 2017.
Hopkins, Lisa. From the Romans to the Normans on the English Renaissance Stage. Western Michigan University, Medieval Institute Publications, 2017.
Knutson, Roslyn L. “Playing Companies and Repertory” in A New Companion to Renaissance Drama, ed. Arthur F. Kinney and Thomas Warren (Hoboken, NJ: John Wiley & Sons, Ltd., 2017), 239-49.
Knutson, Roslyn L. “Henry Chettle, Workaday Playwright”, MaRDiE 30 (2017): 52-64,
Massai, Sonia. “Editing Shakespeare in Parts”, Shakespeare Quarterly 68.1 (2017): 56-79, 77.
McInnis, David. “What I’m Reading”, Meanjin blog, 24 May 2017 https://meanjin.com.au/blog/what-im-reading-david-mcinnis/
MLA International Bibliography, ‘Website of the Week’, 29 January 2017. http://tinyurl.com/he5xjez
Nicosia, Marissa. “Printing as Revivial: Making Playbooks in the 1650s”. The Papers of the Bibliographical Society of America 111.4 (2017): 469-89, esp. 476.
Pangallo, Matteo A. Playwriting Playgoers in Shakespeare's Theater. Philadelphia: U of Pennsylvania P, 2017.
Pratt, Aaron T. “Printed Playbooks, Performance, and the 1580s Lag”. Shakespeare Studies 45 (2017): 51-59.
Smith, Daniel Starza. “Papers most foul: the Melbourne Manuscript and the ‘foul papers’ debate”. James Shirley and Early Modern Theatre: New Critical Perspectives. Ed. Barbara Ravelhofer. Abingdon: Routledge, 2017.
Taylor, Gary and Rory Loughnane, “The Canon and Chronology of Shakespeare’s Works”. The New Oxford Shakespeare: Authorship Companion. Ed. Gary Taylor and Gabriel Egan. Oxford: OUP, 2017. 422.
Whipday, Emma and Freyja Cox Jensen. “‘Original Practices,’ Lost Plays, and Historical Imagination: Staging ‘The Tragedy of Merry’." Shakespeare Bulletin 35.2 (2017): 289-307.
Auger, Peter. “Playing Josephus on the English Stage”. International Journal of the Classical Tradition 23 (2016): 1-7. doi:10.1007/s12138-016-0406-6
Borlik, Todd A. “Unheard Harmonies: The Merchant of Venice and the Lost Play of Pythagoras”. Medieval and Renaissance Drama in England 29 (2016): 191-221.
Hartley, A. J. Julius Caesar: A Critical Reader. Arden Early Modern Drama Guides. Bloomsbury Publishing, 2016.
Hirsch, Brett D. and Janelle Jenstad. “Beyond the Text: Digital Editions and Performance”. Shakespeare Bulletin 34.1 (2016): 107-27.
Miola, Robert S. ‘Representing Orestes’ Revenge’. Classical Receptions Journal 9.1 (2016): 144-65.
Smith, Daniel Starza. ‘Unvolving the Mysteries of the Melbourne Manuscript’. Huntington Library Quarterly 79.4 (2016): 611-53.
Teramura, Misha. “Richard Topcliffe’s Informant: New Light on The Isle of Dogs”. Review of English Studies (first published online December 19, 2016), doi:10.1093/res/hgw131
Wilcox, Zoë. “Richard Burbage and The Dead Man's Fortune”. English and Drama Blog, The British Library 28 July 2016. (Curator’s pick of the “Shakespeare in Ten Acts” exhibition) http://blogs.bl.uk/english-and-drama/2016/07/richard-burbage-and-the-dead-mans-fortune.html
Wolfe, Heather (curator). Shakespeare: Life of an Icon. Exhibition. Washington, DC: Folger Shakespeare Library, 20 January – 27 March 2016. http://www.folger.edu/exhibitions/shakespeare-life-icon
Appelbaum, Robert. Terrorism Before the Letter: Mythography and Political Violence in England, Scotland, and France 1559-1642. Oxford: OUP, 2015. 54-55.
Downes, Stephanie. “French Feeling: Language, Sex and Identity in Henry V”. Shakespeare and Emotions: Inheritances, Enactments, Legacies. Ed. R.S. White, Mark Houlahan, and Katrina O'Loughlin. Basingstoke: Palgrave Macmillan, 2015. 59-68.
Estill, Laura. Dramatic Extracts in Seventeenth-Century English Manuscripts: Watching, Reading, Changing Plays. Maryland: U of Delaware P, 2015. 41.
Hamlet, Jess. “Browsing Early English Bookstalls”. CEA Critic 77.3 (2015): 284-88, esp.285.
Hollis, Gavin. The Absence of America: The London Stage, 1576-1642. Oxford: OUP, 2015. 16.
Houghton Library tumblr stream, 06 Oct 2015: http://houghtonlib.tumblr.com/post/130616882722/a-17th-century-actor-playing-the-character-poore
Kelly, Erin. “Anti-Catholicism and Protestant Polemic in Robert Wilson’s Three Ladies of London”. Performance as Research in Early English Theatre Studies: The Three Ladies of London in Context. http://threeladiesoflondon.mcmaster.ca/contexts/ErinKelly.htm.
Kiefer, Frederick. “Lost and Found: William Boyle's Jugurth”. Medieval and Renaissance Drama in England 28 (2015): 17-29.
Kirwan, Peter. Shakespeare and the Idea of Apocrypha (Cambridge: CUP, 2015), 109.
Knutson, Roslyn L. “Dramatic Verse and Early Modern Playgoers in Marlowe’s Time”. Early Modern Drama in Performance: Essays in Honor of Lois Potter. Ed. Darlene Farabee, Mark Netzloff and Bradley D. Ryner. Maryland: U of Delaware P, 2015. 11-24.
McInnis, David. “Robert Wilson and Lost Plays”. Performance as Research in Early English Theatre Studies: The Three Ladies of London in Context. http://threeladiesoflondon.mcmaster.ca/contexts/DavidMcInnis.htm
Melnikoff, Kirk. “From the Talbot to Duck Lane: The Early Publication History of Robert Wilson’s The Three Ladies of London”. Performance as Research in Early English Theatre Studies: The Three Ladies of London in Context. http://threeladiesoflondon.mcmaster.ca/contexts/KirkMelnikoff.htm
Niayesh, Ladan. “Muscovites and ‘Black-amours’: Alien Love Traders in Love’s Labour’s Lost”. Actes des congrès de la Société française Shakespeare, 32 (2015), http://shakespeare.revues.org/3158
Powell, Daniel, Raymond Siemens, Matthew Hiebert, Lindsey Seatter, and William R. Bowen. “Transformation through Integration: The Renaissance Knowledge Network (ReKN) and a Next Wave of Scholarly Publication”. Scholarly and Research Communication 6.2 (2015). http://www.src-online.ca/src/index.php/src/article/view/199/416
Sherman, Anita Gilman. “Poland in the Cultural Imaginary of Early Modern England.” Journal for Early Modern Cultural Studies 15.1 (2015): 55-89.
Steggle, Matthew. Digital Humanities and the Lost Drama of Early Modern England: Ten Case Studies. Ashgate, 2015.
Arrell, Douglas. “Heywood, Henslowe and Hercules: Tracking 1 and 2 Hercules in Heywood’s Silver and Brazen Ages”. EMLS 17.1 (2014). https://extra.shu.ac.uk/emls/journal/index.php/emls/article/view/100
Bourus, Terri. Young Shakespeare’s Young Hamlet: Print, Piracy, and Performance. NY: Palgrave Macmillan, 2014. 228.
Caines, Michael. “What’s so special about Shakespeare’s First Folio?” The TLS blog, 26 Nov, 2014. http://timescolumns.typepad.com/stothard/2014/11/whats-so-special-about-shakespeares-first-folio.html
Carson, Christie, and Peter Kirwan. "Digital dreaming." Shakespeare and the Digital World: Redefining Scholarship and Practice (2014): 238.
Collins, Eleanor. “Changing Fashions: Tragicomedy, Romance and Heroic Women in the 1630s Hall-Playhouses”. Moving Shakespeare Indoors: Performance and Repertoire in the Jacobean Playhouse. Ed. Andrew Gurr and Farah Karim-Cooper. Cambridge: CUP, 2014. 217-36.
Erne, Lukas, and Tamsin Badcoe. "Shakespeare and the Popularity of Poetry Books in Print, 1583–1622." Review of English Studies 65.268 (2014): 33-57.
Estill, Laura. “Digital Bibliography and Global Shakespeare”. Scholarly and Research Communication 5.4 (2014).
Games, Alison. "Violence on the Fringes: The Virginia (1622) and Amboyna (1623) Massacres." History 99.336 (2014): 505-529.
Giuliani, Clara. “Lost Plays Database”, Scribblings blog, 08 November 2014. http://claragiuliani.com/2014/11/08/lost-play-database/
Gurr, Andrew. “What is Lost of Shakespearean Plays, Besides a Few Titles?” Lost Plays in Shakespeare’s England. Ed. David McInnis and Matthew Steggle. Palgrave Macmillan, 2014. 55-71, esp. 67.
Hirsch, Brett D. and Hugh Craig. “ ‘Mingled Yarn’: The State of Computing in Shakespeare 2.0”, The Shakespearean International Yearbook 14, special issue: “Digital Shakespeares”, 3-36, esp.9.
Hirrel, Michael J. “Thomas Watson, Playwright: Origins of Modern English Drama.” Lost Plays in Shakespeare’s England. Ed. David McInnis and Matthew Steggle. Palgrave Macmillan, 2014 187-207, esp.205.
Hopkins, Lisa. Renaissance Drama on the Edge (Farnham: Ashgate, 2014), 168.
Jackson, Macdonald P. Determining the Shakespeare Canon (Oxford: OUP, 2014), esp.116 and 119.
Kirwan, Peter. "From the table of my memory." Shakespeare and the Digital World: Redefining Scholarship and Practice (2014): 100.
Knutson, Roslyn L. “Ur-Plays and Other Exercises in Making Stuff Up”, Lost Plays in Shakespeare’s England. Ed. David McInnis and Matthew Steggle. Palgrave Macmillan, 2014, 31-54, esp.32-33.
Loughnane, Rory. "Reputation and the Red Bull Theatre, 1625-42." Yearbook of English Studies 44 (2014): 29-50.
Manley, Lawrence, and Sally-Beth MacLean. The Lord Strange’s Men and their Plays (New Haven: Yale UP, 2014), esp. 397.
Matusiak, Christopher. “Elizabeth Beeston, Sir Lewis Kirke, and the Cockpit's Management during the English Civil Wars.” Medieval and Renaissance Drama in England 27 (2014): 161-91.
McInnis, David and Matthew Steggle. “Nothing will come of nothing? Or, What can we learn from plays that don’t exist?” Lost Plays in Shakespeare’s England. Ed. David McInnis and Matthew Steggle. Palgrave Macmillan, 2014. 1-14, esp. 10-12.
McInnis, David. “2 Fortune’s Tennis and the Admiral’s Men.” Lost Plays in Shakespeare’s England. Ed. David McInnis and Matthew Steggle. Palgrave Macmillan, 2014. 105-26, esp.107, 123.
McInnis, David. “Shakespeare and lost plays.” Meanjin 71.1 (2014), 6-10/
McInnis, David. "‘Orozes, King of Albania’: An Unpublished Plot for a Stage Romance, by John Locke." Review of English Studies 65.269 (2014): 266-80.
McInnis, David. "Webs of engagement." Shakespeare and the Digital World: Redefining Scholarship and Practice (2014): 43.
Munro, Lucy. "“Nemp your sexes!”: Anachronistic Aesthetics in Hengist, King of Kent and the Jacobean “Anglo-Saxon” Play." Modern Philology 111.4 (2014): 734-761.
Redfern, Nick with Brad Steiger. The Zombie Book: The Encyclopedia of the Living Dead (Canton, MI: Visible Ink Press, 2014), 247. (Citing the “Black Dog of Newgate” entry)
Spain-Savage, Christi. “Reimagining Gillian: The Merry Wives of Windsor and the Lost ‘Friar Fox and Gillian of Brentford’.” Lost Plays in Shakespeare’s England. Ed. David McInnis and Matthew Steggle. Palgrave Macmillan, 2014. 229-52, esp.249.
Starza Smith, Daniel. John Donne and the Conway Papers: Patronage and Manuscript Circulation in the Early Seventeenth Century (Oxford: OUP, 2014), 160-61.
Stephenson, Joseph F. “Redefining the Dutch: Dryden’s Appropriation of National Images from Renaissance Drama in Amboyna.” Restoration: Studies in English Literary Culture, 1660-1700 38.2 (2014): 63-81, esp.77.
White, Paul Whitfield. “The Admiral’s Lost Arthurian Plays” Lost Plays in Shakespeare’s England. Ed. David McInnis and Matthew Steggle. Palgrave Macmillan, 2014. 148-62, esp.159, 160.
White, Paul Whitfield. “The Admiral’s Men, Shakespeare, and the Lost Arthurian Plays of Elizabethan England.” Arthuriana 24.4 (2014): 33-47.
Williams, William Proctor. “What’s a Lost Play? Toward a Taxonomy of Lost Plays”, Lost Plays in Shakespeare’s England. Ed. David McInnis and Matthew Steggle. Palgrave Macmillan, 2014. 17-30, esp.18.
Birns, Nicholas. Barbarian Memory: The Legacy of Early Medieval History in Early Modern Literature. Palgrave Macmillan, 2013. 75
Borlik, Todd Andrew. "Caliban and the fen demons of Lincolnshire: the Englishness of Shakespeare's Tempest." Shakespeare 9.1 (2013): 21-51.
Collins, Eleanor, Chloe Preedy, and Jem Bloomfield. "VII. Renaissance Drama: Excluding Shakespeare." The Year's Work in English Studies 92.1 (2013): 420-444.
Dabbs, Thomas. “Paul’s Cross and the Dramatic Echoes of Early-Elizabethan Print,” Paul's Cross and the Culture of Persuasion in England, 1520-1640. Ed. W. J. T. Kirby and P. G. Stanwood (Leiden: Brill, 2013), 223-44, esp. 240-41.
Hillman, Richard. « Signifying Nothing: Easier Done Than Said? », «Theta XI, Théâtre Tudor », 2013, pp. 87-100 mis en ligne en septembre2014, http://umr6576.cesr.univ-tours.fr/Publications/Theta11
Howell, Peter. ‘’Tis a mad world at Hogsdon’: Leisure, Licence and the Exoticism of Suburban Space in Early Jacobean London", The Literary London Journal 10.2 (Autumn 2013) http://www.literarylondon.org/london-journal/autumn2013/howell.html
Knutson, Roslyn L. “New Directions: The Jew of Malta in Repertory,” The Jew of Malta: A Critical Reader. Ed. Robert A. Logan (London: The Arden Shakespeare, 2013), 79-106.
Maguire, Laurie and Emma Smith. 30 Great Myths About Shakespeare. Chichester: Wiley-Blackwell, 2013. 10.
Pearce, David. "Shakespeare Remembers! Shakespeare Remembered!." Actes des congrès de la Société française Shakespeare 30 (2013): 225-237.
Purkiss, Diane. "Witchcraft in Early Modern England," The Oxford Handbook of Witchcraft in Early Modern Europe and Colonial America, ed. Brian P. Levack (OUP, 2013), 122-40.
Quaile, Sheilagh. “ ‘The black dog that worries you at home’: The Black Dog Motif in Modern English Folklore and Literary Culture,” The Great Lakes Journal of Undergraduate History Vol. 1, Article 3 (2013): http://scholar.uwindsor.ca/gljuh/vol1/iss1/3
Sager, Jenny. The Aesthetics of Spectacle in Early Modern Drama and Modern Cinema: Robert Greene's Theatre of Attractions (Basingstoke: Palgrave Macmillan, 2013), 179.
Whipday, Emma. “Two Lamentable Tragedies and the Genre of Domestic Tragedy”, Staging Two Lamentable Tragedies ~ A 'parts' production of Robert Yarrington's 1601 domestic tragedy. 15 July 2013. https://twolamentabletragedies.wordpress.com/tag/lost-plays/
Cerasano, S. P. "The Dream of a Perfect History." Renaissance Drama 40.1 (2012): 47-56.
Ratcliff, Jessica. "Art to Cheat the Common-Weale: Inventors, Projectors, and Patentees in English Satire, ca. 1630–70." Technology and Culture 53.2 (2012): 337-365.
Donaldson, Ian. Ben Jonson: A Life (Oxford: OUP, 2011), 459
Knutson, Roslyn L. “Repertory System”, The Oxford Handbook of Shakespeare, ed. Arthur F. Kinney (Oxford: OUP, 2011), 404-419, esp.419.
Knutson, Roslyn L., and David McInnis. "The Lost Plays Database: A Wiki for Lost Plays." Medieval and Renaissance Drama in England 24 (2011): 46-57.
McInnis, David. "Lost Plays from Early Modern England: Voyage Drama, A Case Study." Literature Compass 8.8 (2011): 534-542.
Sager, Jenny. "The Whale, the Hell Mouth and the Aesthetics of Wonder in Thomas Lodge and Robert Greene’s A Looking Glass for London and England (c. 1589)." Postgraduate English: A Journal and Forum for Postgraduates in English. No. 23. 2011.
Walker, Duncan. “William Noy Buried in St Lawrence Church, Brentford and reviled by the public.” Brentford Dock, Right Now: Keep up to date with all things Brentford. http://www.brentforddockresidents.co.uk/historywilliamnoy.php (Citing the “Projector Lately Dead” entry)
Steggle, Matthew. "A Lost Jacobean Tragedy: Henry the Una (c 1619)." Early Theatre 13.1 (2010): 65-81.