Unknown Shrews
Three Transformations of The/A Shrew
Bibliographic Data
| ID | 23407283 |
|---|---|
| Authors | Helmer Helmers (0000-0002-7247-0787, corresponding author), Helmer J Helmers |
| Year | 2010 |
| Pages | 123-144 |
| Publication date | 2010-01-01 |
| Open Access | Yes |
| Type | CHAPTER |
| Venue | Gender and Power in Shrew-Taming Narratives, 1500-1700 (SOURCE_BOOK) |
| Publisher | Palgrave Macmillan UK (PUBLISHER) |
| DOI | 10.1057/9780230277489_8 |
| OpenAlex | W2485882838 |
| ISBN | 9780230277489 |
| Language | EN |
| References cited | 12 |
Although it is well known that English strolling players achieved quite some success during their travels on the continent, the impact of their mediation between theatrical cultures has been systematically downplayed, a tendency which is perhaps best illustrated by the depreciating term ‘strolling player’ itself. Scholars who have painstakingly reconstructed the players’ routes and the repertoire that was brought from London to various cities and courts in Germany and the Netherlands, have generally regarded the plays as vulgarizations of the English originals, hardly worth studying were it not for their proving the early presence of the dramatic genius of William Shakespeare outside the British Isles.1 Only recently, Anston Bosman has argued for a revaluation of the itinerant stage, or, as he terms it, Renaissance Intertheater. Tracking the fortunes of Somebody and Nobody throughout early modern Europe, Bosman has shown that the strolling players were in fact responsible for ‘a remarkable form of cultural interaction between England and the continent’, and that they constituted a significant force behind cultural and dramatic innovation.2
Art · Art history · Genealogy · Genius · Literature · nobody · Repertoire · The Renaissance · History · Philippine History and Culture · Shakespeare, Adaptation, and Literary Criticism · Theater, Performance, and Music History
| Highly cited | No |
|---|