John H Astington
Biographic Data
| ID | 1138061 |
|---|---|
| NAME | John H Astington |
| GIVEN NAMES | John H |
| FAMILY NAME | Astington |
| SIGNATURE | ASTINGTON J H |
| AFFILIATIONS | University of Toronto |
| VERIFIED | No |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 11 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1969 |
| LATEST PUBLICATION YEAR | 2019 |
| H-INDEX | 1 |
The Cambridge Guide to the Worlds of Shakespeare
The Cambridge Guide to the Worlds of Shakespeare aims to replicate the expansive reach of Shakespeare's global reputation. In pursuit of that vision, this work is transhistorical, international and interdisciplinary. Volume 1, Shakespeare's World, 1500–1660, includes a comprehensive survey of the world in which Shakespeare and his contemporaries lived, while Volume 2, The World's Shakespeare, 1660–Present, examines what the world has made of Shak…
A Theater of Diplomacy
Welch, Ellen R. A Theater of Diplomacy: International Relations and the Performing Arts in Early Modern France. An article from journal Renaissance and Reformation / Renaissance et Réforme (Volume 41, Number 2, Spring 2018, pp. 7-227), on Érudit
Stage and Picture in the English Renaissance
Why the theatres changed
A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Shakespeare’s Actors
Recent work on actors and acting companies in Shakespeare’s time has produced some changes of emphasis in view. A complete understanding of the range and complexity of provincial touring has accompanied a continuing examination of the professional theatre of London. New research into actors ’ lives and their professional relationships has added to our sense of their place in the contemporary social and economic order, while renewed study of appre…
Actors and the body
The ways in which the performing of gesture is inscribed into the very texts of Shakespeare’s plays constitutes a “meta-theatrical” and “meta-gestural” discourse which this article analyses with reference to Hamlet , Othello , The Winter’s Tale and Twelfth Night . Shakespeare is shown to be a “gestural writer”, well versed in the rhetorical tradition and sensitive to the subtleties of body language within and without the world of stage
Popular Theatre and the Red Bull
Governing the Pen to the Capacity of the Stage: Reading the Red Bull and Clerkenwell by Lucy Munro: This essay introduces the Issues in Review section ‘Popular Theatre and the Red Bull’, which highlights new work on the Red Bull theatre and its Clerkenwell locality. It suggests ways in which this group of essays relate to current ideas about repertory approaches to early drama, and concludes with a look at the career of actor-dramatist Thomas Jor…
Buckingham's Patronage and The Gypsies Metamorphosed
Standard accounts of the masque in British culture between 1600 and 1640 have tended to give primary attention to those presented at court at the festival seasons of Christmas and Shrovetide. Thematically, they have concentrated on the artists who had a major responsibility in making themBen Jonson and Inigo Jones (with less attention to musical composers and choreographers, whose contributions to the entire event must have been of great importan…
The Origins of the Roxana and Messallina Illustrations
The publisher regrets that the content of this illustrated chapter cannot be shown for rights reasons. Users wishing to read the article should consult the print version of Shakespeare Survey 43. There is no PDF available for this chapter.
The "Messalina" Stage and Salisbury Court Plays
For some time, the little pictures of stages which appear on the title-pages of the plays Roxana (published 1632) and Messalina (published 1640) have teased historians of the English theater with their evidence of conditions in the playhouses before the Restoration (see Figures 1-3). They show very small performing areas, leading most people to identify them with the indoor, so-called private theaters. Their depiction of curtains behind the actin…
Eye and Hand on Shakespeare's Stage
Actors and the body
The ways in which the performing of gesture is inscribed into the very texts of Shakespeare’s plays constitutes a “meta-theatrical” and “meta-gestural” discourse which this article analyses with reference to Hamlet , Othello , The Winter’s Tale and Twelfth Night . Shakespeare is shown to be a “gestural writer”, well versed in the rhetorical tradition and sensitive to the subtleties of body language within and without the world of stage
Eye and Hand on Shakespeare's Stage
The Origins of the Roxana and Messallina Illustrations
The publisher regrets that the content of this illustrated chapter cannot be shown for rights reasons. Users wishing to read the article should consult the print version of Shakespeare Survey 43. There is no PDF available for this chapter.
The "Messalina" Stage and Salisbury Court Plays
For some time, the little pictures of stages which appear on the title-pages of the plays Roxana (published 1632) and Messalina (published 1640) have teased historians of the English theater with their evidence of conditions in the playhouses before the Restoration (see Figures 1-3). They show very small performing areas, leading most people to identify them with the indoor, so-called private theaters. Their depiction of curtains behind the actin…
Buckingham's Patronage and The Gypsies Metamorphosed
Standard accounts of the masque in British culture between 1600 and 1640 have tended to give primary attention to those presented at court at the festival seasons of Christmas and Shrovetide. Thematically, they have concentrated on the artists who had a major responsibility in making themBen Jonson and Inigo Jones (with less attention to musical composers and choreographers, whose contributions to the entire event must have been of great importan…
Actors and the body
The ways in which the performing of gesture is inscribed into the very texts of Shakespeare’s plays constitutes a “meta-theatrical” and “meta-gestural” discourse which this article analyses with reference to Hamlet , Othello , The Winter’s Tale and Twelfth Night . Shakespeare is shown to be a “gestural writer”, well versed in the rhetorical tradition and sensitive to the subtleties of body language within and without the world of stage
Popular Theatre and the Red Bull
Governing the Pen to the Capacity of the Stage: Reading the Red Bull and Clerkenwell by Lucy Munro: This essay introduces the Issues in Review section ‘Popular Theatre and the Red Bull’, which highlights new work on the Red Bull theatre and its Clerkenwell locality. It suggests ways in which this group of essays relate to current ideas about repertory approaches to early drama, and concludes with a look at the career of actor-dramatist Thomas Jor…
Shakespeare’s Actors
Recent work on actors and acting companies in Shakespeare’s time has produced some changes of emphasis in view. A complete understanding of the range and complexity of provincial touring has accompanied a continuing examination of the professional theatre of London. New research into actors ’ lives and their professional relationships has added to our sense of their place in the contemporary social and economic order, while renewed study of appre…
Why the theatres changed
A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Stage and Picture in the English Renaissance
A Theater of Diplomacy
Welch, Ellen R. A Theater of Diplomacy: International Relations and the Performing Arts in Early Modern France. An article from journal Renaissance and Reformation / Renaissance et Réforme (Volume 41, Number 2, Spring 2018, pp. 7-227), on Érudit
The Cambridge Guide to the Worlds of Shakespeare
The Cambridge Guide to the Worlds of Shakespeare aims to replicate the expansive reach of Shakespeare's global reputation. In pursuit of that vision, this work is transhistorical, international and interdisciplinary. Volume 1, Shakespeare's World, 1500–1660, includes a comprehensive survey of the world in which Shakespeare and his contemporaries lived, while Volume 2, The World's Shakespeare, 1660–Present, examines what the world has made of Shak…
Art (10 works) · History (9 works) · History (6 works) · Literature (6 works) · Shakespeare, Adaptation, and Literary Criticism (6 works) · Visual arts (5 works) · Art history (4 works) · Historical Art and Culture Studies (4 works) · Law (4 works) · Law (4 works)