Renaissance Drama 35
Renaissance Drama, an annual and interdisciplinary publication, is devoted to drama and performance as a central feature of Renaissance culture. The essays in each volume explore traditional canons of drama, the significance of performance (broadly construed) to early modern culture, and the impact of new forms of interpretation on the study of Renaissance plays, theatre, and performance.
This special issue of Renaissance Drama "Embodiment and Environment in Early Modern Drama and Performance" is guest-edited by Mary Floyd-Wilson and Garrett A. Sullivan, Jr. Anatomized, fragmented, and embarrassed, the body has long been fruitful ground for scholars of early modern literature and culture. The contributors suggest, however, that period conceptions of embodiment cannot be understood without attending to transactional relations between body and environment. The volume explores the environmentally situated nature of early modern psychology and physiology, both as depicted in dramatic texts and as a condition of theatrical performance. Individual essays shed new light on the ways that travel and climatic conditions were understood to shape and reshape class status, gender, ethnicity, national identity, and subjectivity; they focus on theatrical ecologies, identifying the playhouse as a "special environment" or its own "ecosystem," where performances have material, formative effects on the bodies of actors and audience members; and they consider transactions between theatrical, political, and cosmological environments. For the contributors to this volume, the early modern body is examined primarily through its engagements with and operations in specific environments that it both shapes and is shaped by. Embodiment, these essays show, is without borders.
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Masculinity Climate and the Mechanician in Early Modern Britain
Plantation and Degeneracy in The Tempest and The Sea Voyage
Figuring Denization in William Haughtons Englishmen for My Money
Early Modern Acting and the Rhetoric of Restraint
Understanding in the Elizabethan Theaters
Hamlets Theory of Performance
Dropsy Phantom Pregnancy and the Sound of Deconception in Alls Well That Ends Well
Doctor Faustus and Ovidian Physics
Notes on Contributors
actors All’s argue audience authentic Bartholomew Fair behavior blood bodily body body’s breath Bruce Smith Cambridge University Press character Claudius cognitive cold colony Colt cultural daughters deconception deﬁned demonic denization denizen devil difﬁculty discourse discussion Doctor Faustus Doubtful Heir Drama dropsy Early Modern England Elizabethan embodied England English Ethnicity environment essay experience Faustus’s ﬁgure ﬁnd ﬁrst ﬂesh Fletcher Freud Gail Kern Paster Haizmann Hamlet haue Haughton’s Helen’s homophonic humoral identiﬁed Jean Bodin Jews John Jonson King’s language literal London Mary Floyd-Wilson Mary’s masculinity material meaning Medieval Mephistopheles metaphor narrative nature notes onstage Ovidian physics Oxford performance Pisaro planters play play’s players playgoers playwrights Portingale pregnancy readers Richard Richard Tarlton Robert Burton seems sense seventeenth century Shakespeare Sigmund Freud signiﬁcant sound speciﬁcally stage stranger suggests swelling temperance Tempest theater theatrical Thomas Thomas Dekker thou understanding Voyage William wind witchcraft women words writes York