Book contents
- Performing Restoration Shakespeare
- Performing Restoration Shakespeare
- Copyright page
- Contents
- Figures
- Tables
- Music Examples
- Notes on Contributors
- Foreword
- Acknowledgements
- Abbreviations
- Introduction: New Shakespeare for a New Era
- Chapter 1 From Boards to Books: The Circulation of Shakespearean Songs in Manuscript and Print during the Interregnum
- Chapter 2 Heroic Shakespeare at Lincoln’s Inn Fields
- Chapter 3 More than a Song and Dance? Identifying Matthew Locke’s Incidental Music for Macbeth
- Chapter 4 Cross-Dressing in Restoration Shakespeare: Twelfth Night and The Tempest
- Chapter 5 Performing Restoration Shakespeare in the Eighteenth Century
- Chapter 6 An Actor’s Perspective on Restoration Shakespeare
- Chapter 7 Staging Restoration Shakespeare with Restoration Music
- Chapter 8 Davenant’s Lady Macduff and the Subversion of Normative Femininity in Twenty-First-Century Performance
- Chapter 9 Facts as Ideas: The Theatricalisation of Scholarship
- Chapter 10 Syncopated Time: Staging the Restoration Tempest
- Bibliography
- Index
- References
Bibliography
Published online by Cambridge University Press: 28 January 2023
Book contents
- Performing Restoration Shakespeare
- Performing Restoration Shakespeare
- Copyright page
- Contents
- Figures
- Tables
- Music Examples
- Notes on Contributors
- Foreword
- Acknowledgements
- Abbreviations
- Introduction: New Shakespeare for a New Era
- Chapter 1 From Boards to Books: The Circulation of Shakespearean Songs in Manuscript and Print during the Interregnum
- Chapter 2 Heroic Shakespeare at Lincoln’s Inn Fields
- Chapter 3 More than a Song and Dance? Identifying Matthew Locke’s Incidental Music for Macbeth
- Chapter 4 Cross-Dressing in Restoration Shakespeare: Twelfth Night and The Tempest
- Chapter 5 Performing Restoration Shakespeare in the Eighteenth Century
- Chapter 6 An Actor’s Perspective on Restoration Shakespeare
- Chapter 7 Staging Restoration Shakespeare with Restoration Music
- Chapter 8 Davenant’s Lady Macduff and the Subversion of Normative Femininity in Twenty-First-Century Performance
- Chapter 9 Facts as Ideas: The Theatricalisation of Scholarship
- Chapter 10 Syncopated Time: Staging the Restoration Tempest
- Bibliography
- Index
- References
Summary
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.
- Type
- Chapter
- Information
- Performing Restoration Shakespeare , pp. 199 - 210Publisher: Cambridge University PressPrint publication year: 2023
References
An act against vagrants, and wandring, idle, dissolute persons. At the Parliament begun at Westminster the 17th day of September, an. Dom. 1656. London: Hen. Hills and John Field, 1657; Wing E972.Google Scholar
Allsopp, Niall. Poetry and Sovereignty in the English Revolution. Oxford: Oxford University Press, 2020.Google Scholar
Ashbee, Andrew, ed. Records of English Court Music. Volume 1. Snodland: Andrew Ashbee, 1986.Google Scholar
Austin, Hailey J. ‘“If She Be Worthy”: Performance of Female Masculinity and Toxic Geek Masculinity in Jason Aaron’s Thor: The Goddess of Thunder’. In Superheroes and Masculinity: Unmasking the Gender Performance of Heroism, edited by Parson, Sean and Schatz, J. L., 29–46. Lanham, MD: Lexington Books, 2019.Google Scholar
Bailey, Candace. ‘The Challenge of Domesticity in Men’s Manuscripts in Restoration England’. In Beyond Boundaries: Rethinking Music Circulation in Early Modern England, ed. Austern, Linda Phyllis, Bailey, Candace, and Winkler, Amanda Eubanks, 114–26. Bloomington and Indianapolis: Indiana University Press, 2017.Google Scholar
Benedetti, Jean. David Garrick and the Birth of Modern Theatre. London: Methuen, 2001.Google Scholar
Blake, Ann. ‘Children and Suffering in Shakespeare’s Plays’. The Yearbook of English Studies, 23 (1993): 293–304.Google Scholar
Boyle, Roger. The Dramatic Works of Roger Boyle, Earl of Orrery, ed. Clark II, William Smith. 2 volumes. Cambridge, MA: Harvard University Press, 1937.Google Scholar
Burden, Michael. ‘Shakespeare and Opera’. In Eighteenth-Century Shakespeare, ed. Sabor, Peter and Ritchie, Fiona, 204–24. Cambridge: Cambridge University Press, 2012.Google Scholar
Burnaby, William. Love Betray’d; Or, The Agreable Disapointment. London: Printed for D. Brown … F. Coggan … W. Davis … and G. Strahan, 1703.Google Scholar
Burnim, Kalman A. David Garrick, Director. Pittsburgh, PA: University of Pittsburgh Press, 1961.Google Scholar
Butler, Martin. Theatre and Crisis, 1632–1642. Cambridge: Cambridge University Press, 1984.Google Scholar
Canfield, J. Douglas. Heroes and States: On the Ideology of Restoration Tragedy. Lexington: University Press of Kentucky, 2000.Google Scholar
Carson, Christie and Karim-Cooper, Farah, eds. Shakespeare’s Globe: A Theatrical Experiment. Cambridge: Cambridge University Press, 2008.Google Scholar
Chambers, E. K. William Shakespeare: A Study of Facts and Problems. 2 volumes. Oxford: Clarendon Press, 1930.Google Scholar
Chan, Mary. ‘Drolls, Drolleries and Mid-Seventeenth-Century Dramatic Music in England’. Royal Musical Association Research Chronicle, 15 (1979): 117–73.Google Scholar
Chan, Mary. ‘John Hilton’s Manuscript British Library Add. MS 11608’. Music & Letters, 60.4 (1979): 440–9.Google Scholar
Charteris, Richard. An Annotated Catalogue of the Music Manuscripts in the Folger Shakespeare Library, Washington, D.C. New York: Pendragon Press, 2005.Google Scholar
Chua, Brandon. Ravishment of Reason: Governance and the Heroic Idioms of the Late Stuart Stage, 1660–1690. Lanham, MD: Bucknell University Press, 2014.Google Scholar
Cibber, Colley. An Apology for the Life of Mr. Colley Cibber, Comedian …, 2nd ed. London: Printed by John Watts for the Author, 1740.Google Scholar
Clare, Janet, ed. Drama of the English Republic, 1640–1660. Manchester: Manchester University Press, 2002.Google Scholar
Crystal, Ben and Crystal, David. Shakespeare’s Words: A Glossary and Language Companion. London: Penguin, 2004.Google Scholar
Cunningham, Vanessa. Shakespeare and Garrick. Cambridge: Cambridge University Press, 2008.Google Scholar
Cutts, John P. ‘Robert Johnson: King’s Musician in His Majesty’s Public Entertainment’. Music & Letters, 36.2 (1955): 110–25.Google Scholar
Cutts, John P. ‘Seventeenth-Century Songs and Lyrics in Edinburgh University Library Music MS DC.1.69’. Musica Disciplina, 13 (1959): 169–94.Google Scholar
Davenant, William. ‘Macbeth: A Tragedy’. In Five Restoration Adaptations of Shakespeare, ed. Spencer, Christopher, 33–107. Urbana: University of Illinois Press, 1965.Google Scholar
[Davenant, William]. A Proposition for the Advancement of Moralitie, by a New Way of Entertainment of the People. London, 1654 [/3].Google Scholar
Davenant, William. The Works of Sr William D’avenant. London: Printed by T. N. for Henry Herringman, 1673.Google Scholar
Davies, Thomas. Dramatic Miscellanies, Consisting of Critical Observations on Several Plays of Shakespeare. London: Davies, 1783.Google Scholar
De Marinis, Marco and Pecorari, Marie ‘New Theatrology and Performance Studies: Starting Points towards a Dialogue’. The Drama Review, 55.4 (2011): 64–74.Google Scholar
Depledge, Emma. Shakespeare’s Rise to Cultural Prominence: Politics, Print and Alteration. Cambridge: Cambridge University Press, 2018.Google Scholar
Dessen, Alan. ‘“Original Practices” at the Globe’. In Shakespeare’s Globe: A Theatrical Experiment, ed. Carson, Christie and Karim-Cooper, Farah, 45–54. Cambridge: Cambridge University Press, 2008.Google Scholar
Donington, Robert. ‘James Talbot’s Manuscript’. The Galpin Society Journal, 3 (1950): 27–45.Google Scholar
Doyle, A. I. ‘Publication by Members of the Religious Orders’. In Book Production and Publishing in Britain, 1375–1475, ed. Griffiths, Jeremy and Pearsall, Derek, 109–23. Cambridge: Cambridge University Press, 1989.Google Scholar
Downes, John. Roscius Anglicanus, or an Historical Review of the Stage. London: Printed and sold by H. Playford, 1708.Google Scholar
Downes, John. Roscius Anglicanus, ed. Milhous, Judith and Hume, Robert D.. London: The Society for Theatre Research, 1987.Google Scholar
Drouin, Jennifer. ‘Cross-Dressing, Drag, and Passing: Slippages in Shakespearean Comedy’. In Shakespeare Re-Dressed: Cross-Gender Casting in Contemporary Performance, edited by Bulman, James C., 23–57. Madison, NJ: Fairleigh Dickinson University Press, 2008.Google Scholar
Dryden, John. The Works of John Dryden, ed. Swedenberg, H. T. Jr. et al. 20 volumes. Berkeley and Los Angeles: University of California, 1956–2002.Google Scholar
Duckles, Vincent. ‘The “Curious” Art of John Wilson (1595–1674): An Introduction to his Songs and Lute Music’. Journal of the American Musicological Society, 7.2 (1954): 93–112.Google Scholar
Duffin, Ross W. ‘Catching the Burthen: A New Round of Shakespearean Musical Hunting’. Studies in Music from the University of Western Ontario, 19–20 (2000): 1–15.Google Scholar
Duffin, Ross W. Shakespeare’s Songbook. New York and London: W. W. Norton & Company, 2004.Google Scholar
Dyson, Peter. ‘Changes in Dramatic Perspective: From Shakespeare’s Macbeth to Davenant’s’. Shakespeare Quarterly 30.3 (1979): 402–7.Google Scholar
Edmond, Mary. Rare Sir William Davenant: Poet Laureate, Playwright, Civil War General, Restoration Theatre Manager. Manchester: Manchester University Press, 1987.Google Scholar
England’s Memorable Accidents, From the 19th of Decemb. to the 26th of the same, 1642. London: for Stephen Bowtell, 1642; Thomason/E.244[26].Google Scholar
Estill, Laura. Dramatic Extracts in Seventeenth-Century English Manuscripts: Watching, Reading, Changing Plays. Newark: University of Delaware Press, 2015.Google Scholar
Eubanks Winkler, Amanda. ‘The Intermedial Dramaturgy of Dramatick Opera: Understanding Genre through Performance’. Restoration: Studies in English Literary Culture, 1660–1700, 42.2 (2018): 13–38.Google Scholar
Eubanks Winkler, Amanda. ‘“Let’s Have a Dance”: Staging Shakespeare in Restoration London’. In The Oxford Handbook of Shakespeare and Music, ed. Wilson, Christopher R. and Cooke, Mervyn, 387–408. Oxford: Oxford University Press, 2022.Google Scholar
Eubanks Winkler, Amanda. Music, Dance, and Drama in Early Modern English Schools. Cambridge: Cambridge University Press, 2020.Google Scholar
Eubanks Winkler, Amanda. O Let Us Howle Some Heavy Note: Music for Witches, the Melancholic, and the Mad on the Seventeenth-Century English Stage. Bloomington: Indiana University Press, 2006.Google Scholar
Eubanks Winkler, Amanda. ‘Opera in England’. In The Cambridge Companion to Seventeenth-Century Opera, ed. Waeber, Jacqueline, 224–47. Cambridge: Cambridge University Press, 2022.Google Scholar
Eubanks Winkler, Amanda. ‘Sexless Spirits? Gender Ideology and Dryden’s Musical Magic’. The Musical Quarterly 93.2 (2010): 297–328.Google Scholar
Eubanks Winkler, Amanda. ‘A Thousand Voices: Performing Ariel’. In A Feminist Companion to Shakespeare, 2nd ed., ed. Callaghan, Dympna, 520–38. Chichester: Wiley Blackwell, 2016.Google Scholar
Eubanks Winkler, Amanda and Schoch, Richard. Shakespeare in the Theatre: Sir William Davenant and the Duke’s Company. London: Arden Bloomsbury, 2021.Google Scholar
Firth, C. H. and Rait, R. S., eds. Acts and Ordinances of the Interregnum, 1642–1660. 3 volumes. Ontario: Tannritchie Publishing, 2005.Google Scholar
Fiske, Roger. English Theatre Music in the Eighteenth Century. London: Oxford University Press, 1973.Google Scholar
Fitzmaurice, James, ed. Sociable Letters: Margaret Cavendish. Ontario: Broadview Press, 2004.Google Scholar
Ford, Robert. ‘Osborn MS 515: A Guardbook of Restoration Instrumental Music’. Fontes Artis Musicae, 30.3 (1983): 174–84.Google Scholar
Forde, Thomas. Virtus Rediviva; Or, A Panegyrick On the Late K. Charls the I. Second Monarch of Great Britain. London: Printed by R. and W. Leybourn, for William Grantham, 1660.Google Scholar
Freehafer, John. ‘Brome, Suckling, and Davenant’s Theatre Project of 1639’. Texas Studies in Language and Literature, 10 (1968): 367–83.Google Scholar
Freeman, Jane. ‘Beyond Bombast: David Garrick’s Performances of Benedick and King Lear’. Restoration and 18th Century Theatre Research, 14.2 (1999): 1–21.Google Scholar
Freeman, Lisa A. Character’s Theater: Genre and Identity on the Eighteenth-Century English Stage. Philadelphia: University of Pennsylvania Press, 2002.Google Scholar
Fretz, Claude. ‘“marvellous and surprizing conduct”: The “Masque of Devils” and Dramatic Genre in Thomas Shadwell’s The Tempest’. Restoration: Studies in English Literary Culture, 1660–1700, 43.2 (Fall 2019): 3–28.Google Scholar
Fretz, Claude. ‘Performing Restoration Shakespeare “Then” and “Now”: A Case Study of Davenant’s Macbeth’. Concentric: Literary and Cultural Studies, 48.1 (March 2022): 27–56.Google Scholar
Friedman-Rommell, Beth H. ‘Breaking the Code: Toward a Reception Theory of Theatrical Cross-Dressing in Eighteenth-Century London’. Theatre Journal, 47.4 (1995): 459–79.Google Scholar
Furnivall, F. J., ed. A New Variorum of Shakespeare. Volume 9. Philadelphia: J.B. Lippincott Co., 1892.Google Scholar
Garrick, David. The Private Correspondence of David Garrick …, ed. Boaden, James. Volume 1. London: Colburn and Bentley, 1831.Google Scholar
Greenfield, Anne. ‘D’Avenant’s Lady Macduff: Ideal Feminism and Subversive Politics’. Restoration, 37.1 (Spring 2013): 39–60.Google Scholar
Harris, Arthur John. ‘Garrick, Colman, and King Lear: A Reconsideration’. Shakespeare Quarterly, 22.1 (1971): 57–66.Google Scholar
Herissone, Rebecca. ‘Daniel Henstridge and the Aural Transmission of Music in Restoration England’. In Beyond Boundaries, ed. Austern, Linda, Bailey, Candace, and Eubanks Winkler, Amanda, 165–86. Bloomington and Indianapolis: Indiana University Press, 2017.Google Scholar
Herissone, Rebecca. Musical Creativity in Restoration England. Cambridge and New York: Cambridge University Press, 2013.Google Scholar
Higgott, Gordon. ‘Reassessing the Drawings for the Inigo Jones Theatre: A Restoration Project by John Webb?’ The Chamber of Demonstrations: Reconstructing the Jacobean Indoor Playhouse. www.bristol.ac.uk/drama/jacobean/research4.html.Google Scholar
Hilton, John. Catch that Catch can. London: W. Godbid for J. Playford, 1667; Wing H2039.Google Scholar
Hobbes, Thomas. The Clarendon Edition of the Works of Thomas Hobbes, vol. 4: Leviathan: The English and Latin Texts (i), ed. Malcolm, Noel. Oxford: Clarendon Press, 2012.Google Scholar
Holland, Peter. The Ornament of Action: Text and Performance in Restoration Comedy. Cambridge: Cambridge University Press, 1979.Google Scholar
Holman, Peter. ‘Commentary, Item 95’. In Fine Printed and Manuscript Music. London: Sotheby’s, 1999.Google Scholar
Holman, Peter. ‘Introduction’. In Restoration Theatre Airs, ed. Holman, Peter and Woolley, Andrew. Musica Britannica, forthcoming.Google Scholar
Home, Henry, Lord Kames, . Elements of Criticism, ed. Jones, Peter. Volume 2. Indianapolis: Liberty Fund, 2005.Google Scholar
Hotson, Leslie. The Commonwealth and Restoration Stage. Cambridge, MA: Harvard University Press, 1928.Google Scholar
Hotson, Leslie. The Commonwealth and Restoration Stage. New York: Russell & Russell, 1962.Google Scholar
Houck, Stacey. ‘John Playford and the English Musical Market’. In ‘Noyses, sounds and sweet aires’: Music in Early Modern England, ed. Owens, Jessie Ann, 48–61. Washington, DC: The Folger Shakespeare Library, 2006.Google Scholar
Howard, Alan. ‘A Midcentury Musical Friendship: Silas Taylor and Matthew Locke’. In Beyond Boundaries: Rethinking Music Circulation in Early Modern England, ed. Austern, Linda, Bailey, Candace, and Eubanks Winkler, Amanda, 127–49. Bloomington and Indianapolis: Indiana University Press, 2017.Google Scholar
Howard, Jean. ‘Crossdressing, the Theatre, and Gender Struggle in Early Modern England’. Shakespeare Quarterly, 39.4 (1988): 418–40.Google Scholar
Howe, Elizabeth. The First English Actresses: Women and Drama, 1660–1700. Cambridge: Cambridge University Press, 1992.Google Scholar
Hughes, Derek. ‘Heroic Drama and Tragicomedy’. In A Companion to Restoration Drama, ed. Owen, Susan J., 195–210. Oxford: Blackwell, 2008.Google Scholar
Hume, Robert D. ‘The Dorset Garden Theatre: A Review of Facts and Problems’. Theatre Notebook, 33.2 (1979): 4–17.Google Scholar
Ingler, William. Certaine informations from severall parts of the kingdome, 30 October–6 November 1643. London: for Henry Overton, 1643–1644; Thomason/E.75[3].Google Scholar
Iwanisziw, Susan B. ‘The Shameful Allure of Sycorax and Wowski: Dramatic Precursors of Sartje, the Hottentot Venus’. Restoration and 18th Century Theatre Research, 16.2 (2001): 3–10.Google Scholar
Jacob, James R. and Raylor, Timothy. ‘Opera and Obedience: Thomas Hobbes and A Proposition for Advancement of Moralitie by Sir William Davenant’. The Seventeenth Century, 6.2 (1991): 205–50.Google Scholar
Johnston, Freya. ‘Samuel Johnson’. In Great Shakespeareans: Dryden, Pope, Johnson, Malone, edited by Rawson, Claude, 115–59. London: Continuum, 2010.Google Scholar
Jorgens, Elise Bickford, ed. Edinburgh University Library Manuscript Ms, Dc. 169. English Song 1600–1675. Volume 8. New York and London: Garland Publishing, 1987.Google Scholar
Jose, Nicholas. Ideas of the Restoration in English Literature, 1660–71. London: Macmillan, 1984.Google Scholar
Kenny, Elizabeth. ‘In Practice II: Adapting a Restoration Adaptation – The Tempest, or the Enchanted Island’. In Shakespeare, Music, and Performance, ed. Barclay, Bill and Lindley, David, 114–30. Cambridge: Cambridge University Press, 2017.Google Scholar
Kernodle, George R. ‘Style, Stylization, and Styles of Acting’. Educational Theatre Journal, 12.4 (1960): 251–61.Google Scholar
Kirkman, Francis. The Wits, or, Sport upon Sport. London: Printed for Henry Marsh, 1662; Wing W3218.Google Scholar
Kirwan, Peter. Shakespeare in the Theatre: Cheek by Jowl. London: Arden Shakespeare, 2019.Google Scholar
Kivy, Peter. Authenticities: Philosophical Reflections on Musical Performance. Ithaca, NY: Cornell University Press, 1995.Google Scholar
Kroll, Richard. ‘Emblem and Empiricism in Davenant’s Macbeth’. English Literary History, 57.3 (Winter 1990): 835–64.CrossRefGoogle Scholar
Langhans, Edward A. Eighteenth Century British and Irish Promptbooks: A Descriptive Bibliography. New York: Greenwood Press, 1987.Google Scholar
Larson, Katherine R. The Matter of Song in Early Modern England: Texts in and of the Air. Oxford: Oxford University Press, 2019.Google Scholar
Latham, Robert and Matthews, William, eds. The Diary of Samuel Pepys: A New and Complete Transcription. 11 volumes. Berkeley: University of California Press, 1971.Google Scholar
Law, Richard. ‘The Heroic Ethos in John Dryden’s Heroic Plays’. Studies in English Literature 1500–1900, 23.3 (1983): 389–98.Google Scholar
Leigh, Lori. Shakespeare and the Embodied Heroine: Staging Female Characters in the Late Plays and Early Adaptations. Basingstoke: Palgrave Macmillan, 2014.Google Scholar
L’Estrange, Roger. A Memento Directed to all Those that Truly Reverence the Memory of King Charles the Martyr. London: Printed for Henry Brome, 1662.Google Scholar
Lindenbaum, Peter. ‘John Playford: Music and Politics in the Interregnum’. Huntington Library Quarterly, 64.1–2 (2001): 124–38.Google Scholar
Lindley, David. ‘“Sounds and Sweet Airs”: Music in Shakespearean Performance History’. Shakespeare Survey, 64 (2011): 59–73.Google Scholar
Little, Patrick. ‘Music at the Court of King Oliver’. The Court Historian, 12 (2007): 173–91.Google Scholar
Locke, Matthew. Dramatic Music, ed. Tilmouth, Michael. Musica Britannica. Volume 51. London: Stainer and Bell, 1986.Google Scholar
Locke, Matthew. The Rare Theatrical: Music for London Entertainment, 1660–1800. Series A, Volume 4. London: Stainer and Bell, 1989.Google Scholar
Long, John H. Shakespeare’s Use of Music: The Final Comedies. Gainesville: University of Florida Press, 1961.Google Scholar
Love, Harold. Scribal Publication in Seventeenth-Century England. Oxford: Clarendon Press, 1993.Google Scholar
McAfee, Helen, ed. Pepys on the Restoration Stage. New Haven, CT: Yale University Press, 1916.Google Scholar
McAuley, Gay. Not Magic but Work: An Ethnographic Account of a Rehearsal Room Process. Manchester: Manchester University Press, 2012.Google Scholar
[Magalotti, Lorenzo]. Travels of Cosmo the Third, Grand Duke of Tuscany. London: Printed for J. Mawman, 1821.Google Scholar
Maguire, Nancy Klein. Regicide and Restoration: English Tragicomedy, 1660–1671. Cambridge: Cambridge University Press, 1992.Google Scholar
Marotti, Arthur F. Manuscript, Print and the English Renaissance Lyric. Ithaca, NY, and London: Cornell University Press, 1995.Google Scholar
Marsden, Jean I. ‘Improving Shakespeare: From the Restoration to Garrick’. In The Cambridge Companion to Shakespeare on Stage, ed. Wells, Stanley and Stanton, Sarah, 21–36. Cambridge: Cambridge University Press, 2002.Google Scholar
Mazer, Cary. ‘Historicizing Spontaneity’. In Shakespeare’s Sense of Character, ed. Ko, Yu Jin and Shurgot, Michael, 85–98. Burlington, VT: Ashgate, 2012.Google Scholar
Miller, Ted H. ‘The Two Deaths of Lady Macduff: Antimetaphysics, Violence, and William Davenant’s Restoration Revision of Macbeth’. Political Theory, 36.6 (2008): 856–82.Google Scholar
Muller, Frans and Muller, Julie. ‘Completing the Picture: The Importance of Reconstructing Early Opera’. Early Music, 33.4 (2005): 667–81.Google Scholar
Muller, Frans and Muller, Julie. ‘Purcell’s Dioclesian on the Dorset Garden Stage’. In Performing the Music of Henry Purcell, ed. Burden, Michael, 232–42. Oxford: Clarendon Press, 1996.Google Scholar
Murray, Barbara. Restoration Shakespeare: Viewing the Voice. Madison, NJ: Fairleigh Dickinson University Press, 2001.Google Scholar
Murray, Barbara. ‘“Strange Star”: Same-Sex Love and William Burnaby’s Love Betray’d or The Agreeable Disapointment (1703)’. English Studies, 93.2 (2012): 183–4.Google Scholar
O’Meara, Jennifer. ‘What “The Bechdel Test” Doesn’t Tell Us: Examining Women’s Verbal and Vocal (Dis)empowerment in Cinema’. Feminist Media Studies, 16.6 (2016): 1120–3.Google Scholar
Oya, Reiko. Representing Shakespearean Tragedy: Garrick, the Kembles, and Kean. Cambridge: Cambridge University Press, 2011.Google Scholar
Payne, Deborah C. ‘“Damn you, Davenant!” The Perils and Possibilities of Restoration Shakespeare’. Restoration and Eighteenth-Century Theatre Research, 32.1 (Summer 2017): 21–40.Google Scholar
Payne, Deborah C. ‘Reified Object or Emergent Professional? Retheorizing the Restoration Actress’. In Cultural Readings of Restoration and Eighteenth-Century English Theater, ed. Canfield, J. Douglas and Payne, Deborah C., 13–38. Athens, GA: University of Georgia Press, 1995.Google Scholar
Pearson, Jacqueline. The Prostituted Muse: Images of Women and Women Dramatists, 1642–1737. New York: Harvester Wheatsheaf, 1988.Google Scholar
Pisani, Michael V. Music for the Melodramatic Theatre in Nineteenth-Century London and New York. Iowa City: University of Iowa Press, 2014.Google Scholar
Plank, Steven E. ‘“And Now About the Cauldron Sing”: Music and the Supernatural on the Restoration Stage’. Early Music, 28.3 (1990): 393–407.Google Scholar
Playford, John. The English dancing master: or, Plaine and easie rules for the dancing of country dances. London: Thomas Harper, 1651; Thomason E.626[7].Google Scholar
Playford, John. An Introduction to the Skill of Musick. London: Printed by E. Jones, for Henry Playford, 1694.Google Scholar
Powell, Jocelyn. Restoration Theatre Production. London: Routledge & Kegan Paul, 1984.Google Scholar
Price, Curtis. Music in the Restoration Theatre with a Catalogue of Instrumental Music in the Plays, 1665–1713. Ann Arbor, MI: UMI Research Press, 1979.Google Scholar
Rackin, Phyllis. ‘Shakespeare’s Cross-Dressing Comedies’. In A Companion to Shakespeare’s Works: The Comedies, ed. Dutton, Richard and Howard, Jean E., 114–36. Malden, MA: Blackwell, 2003.Google Scholar
Raddadi, Mongi. Davenant’s Adaptations of Shakespeare. Uppsala: Studia Anglistica Upsaliensis, 1979.Google Scholar
Radice, Mark A. ‘Sites for Music in Purcell’s Dorset Garden Theatre’. The Musical Quarterly, 81.3 (1997): 430–48.Google Scholar
Radice, Mark A. ‘Theater Architecture at the Time of Purcell and Its Influence on His “Dramatick Operas”’. The Musical Quarterly, 74.1 (1990): 98–130.Google Scholar
Randall, Dale. Winter Fruit: English Drama 1642–60. Kentucky: University Press of Kentucky, 1995.Google Scholar
Reimers, Sara. ‘Rehearsal Notes: Davenant’s Macbeth at the Folger Theatre’, 6–18 August 2018. Unpublished field notes.Google Scholar
Reimers, Sara and Schoch, Richard. ‘Performing Restoration Shakespeare Today: Staging Davenant’s Macbeth’. Shakespeare Bulletin, 37.4 (Winter 2019): 467–89.Google Scholar
Richmond, Robert, ed. ‘Macbeth By William Shakespeare, As Adapted and Amended by William Davenant’. Folger Shakespeare Theatre. 30 May 2018. Unpublished rehearsal script.Google Scholar
Ritchie, Leslie. David Garrick and the Mediation of Celebrity. Cambridge: Cambridge University Press, 2019.Google Scholar
Rosenthal, Laura J. ‘Reading Masks: The Actress and the Spectatrix in Restoration Shakespeare’. In Broken Boundaries: Women and Feminism in Restoration Drama, ed. Quinsey, Katherine M., 201–18. Lexington: University Press of Kentucky, 1996.Google Scholar
Rylance, Mark. ‘Playing the Globe: Artistic Policy and Practice’. In Shakespeare’s Globe Rebuilt, ed. Mulryne, J. R. and Shewring, Margaret, 169–76. Cambridge: Cambridge University Press, 1997.Google Scholar
Sandys, William and Forster, Simon Andrew. The History of the Violin. London: William Reeves Bookseller, 1864.Google Scholar
Scheil, Katherine West. The Taste of the Town: Shakespearian Comedy and the Early Eighteenth-Century Theatre. Lewisburg, PA: Bucknell University Press, 2003.Google Scholar
Schneider, Rebecca. Performing Remains: Art and War in Times of Theatrical Reenactment. Abingdon: Routledge, 2011.Google Scholar
Schille, Candy B. K. ‘“Man Hungry”: Reconsidering Threats to Colonial and Patriarchal Order in Dryden and Davenant’s The Tempest’. Texas Studies in Literature and Language, 48.4 (2006): 273–90.Google Scholar
Schoch, Richard. ‘How One Actor Forever Changed the Way We See Shakespeare’. British Council Voices Magazine, 19 April 2016. www.britishcouncil.org/voices-magazine/how-one-actor-forever-changed-way-we-see-shakespeare.Google Scholar
Scouten, Arthur H. ‘The Premiere of Davenant’s Adaptation of Macbeth’. In Shakespeare and the Dramatic Tradition: Essays in Honor of S. F. Johnson, ed. Elton, W. R. and Long, William B., 286–93. Cranbury, NJ: Associated University Presses, 1989.Google Scholar
Sedinger, Tracey. ‘“If Sight and Shape be True”: The Epistemology of Crossdressing on the London Stage’. Shakespeare Quarterly, 48.1 (1997): 63–79.Google Scholar
Seng, Peter J. The Vocal Songs in the Plays of Shakespeare. Cambridge, MA: Harvard University Press, 1967.Google Scholar
[Shadwell, Thomas]. The Tempest, Or the Enchanted Island. London: Printed by T. N. for Henry Herringman, 1674.Google Scholar
Shakespeare, William. Bell’s Edition of Shakespeare’s Plays, ed. Gentleman, Francis. London: Cornmarket, 1969.Google Scholar
Shakespeare, William. Macbeth. Directed by Antoni Cimolino. Performed by Ian Lake, Krystin Pellerin, Michael Blake, Sarah Afful. Stratford Festival, 2016. www.digitaltheatreplus.com/education/collections/stratford-festival/macbeth.Google Scholar
Shakespeare, William. Macbeth. Directed by Gregory Doran. Performed by Antony Sher, Harriet Walter, Nigel Cooke, Diane Beck. Royal Shakespeare Company, 2001. www.digitaltheatreplus.com/education/collections/illuminations/macbeth-illuminations-rsc.Google Scholar
Shakespeare, William. Macbeth. Directed by Jatinder Verma. Performed by Robert Mountford, Shaheen Khan, Umar Pasha, Shalini Peiris. Tara Arts, 2015. www.digitaltheatreplus.com/education/collections/tara-arts/macbeth.Google Scholar
Shakespeare, William. Macbeth, ed. Clarke, Sandra and Mason, Pamela. London: Bloomsbury, 2015.Google Scholar
Shakespeare, William. The Plays of William Shakespeare in Eight Volumes, ed. Johnson, Samuel. Volume 6. London: J. and R. Tonson, 1765.Google Scholar
Shapiro, Michael. Gender in Play on the Shakespearean Stage: Boy Heroines and Female Pages. Ann Arbor: University of Michigan Press, 1994.Google Scholar
Sharpe, Kevin. Criticism and Compliment: The Politics of Literature in the England of Charles I. Cambridge: Cambridge University Press, 1987.Google Scholar
Shebbeare, John. Letters on the English Nation by Battista Angeloni, A Jesuit, Who Resided Many Years in London. Volume 2. London, 1755.Google Scholar
Sorbière, Samuel de. A Voyage to England. London: Printed and Sold by J. Woodward, 1709.Google Scholar
Spencer, Christopher, ed. Davenant’s Macbeth from the Yale Manuscript: An Edition, with a Discussion of the Relation of Davenant’s Text to Shakespeare’s. New Haven, CT: Yale University Press, 1961.Google Scholar
Spencer, Christopher, ed. Five Restoration Adaptations of Shakespeare. Urbana: University of Illinois Press, 1965.Google Scholar
Spencer, Hazelton. Shakespeare Improved: The Restoration Versions in Quarto and on the Stage. Cambridge, MA: Harvard University Press, 1927.Google Scholar
Spink, Ian, ed. The Blackwell History of Music in Britain, vol. 3: The Seventeenth Century. Oxford: Blackwell, 1992.Google Scholar
Sternfeld, Frederick W. ‘Appendix II: Take, O Take Those Lips Away’. In Measure for Measure, ed. Lever, J. W.. London: Methuen & Co., 1965.Google Scholar
Sternfeld, Frederick W. Music in Shakespearean Tragedy, 2nd ed. London: Routledge and Kegan Paul, 1967.Google Scholar
Stone, George Winchester, Jr. ‘Garrick’s Production of King Lear: A Study in the Temper of the Eighteenth-Century Mind’. Studies in Philology, 45.1 (1948): 89–103.Google Scholar
Taruskin, Richard. Text and Act: Essays on Music and Performance. Oxford: Oxford University Press, 1995.Google Scholar
[Tate, Nahum and Garrick, David]. The History of King Lear, A Tragedy: As it is now acted at the King’s Theatres. London: Hitch et al., 1756.Google Scholar
[Tate, Nahum and Colman, George]. The History of King Lear, As It Is Performed at The Theatre Royal in Covent Garden. London: R. Baldwin and T. Becket, 1768.Google Scholar
Taylor, Gary. Reinventing Shakespeare: A Cultural History from the Restoration to the Present. New York: Weidenfeld & Nicholson, 1987.Google Scholar
Taylor, Gary and Sabol, Andrew J.. ‘Middleton, Music, and Dance’. In Thomas Middleton and Early Modern Textual Culture: A Companion to the Collected Works, ed. Taylor, Gary and Lavagnino, John, 119–81. Oxford: Clarendon Press, 2007.Google Scholar
Tosh, Will. Playing Indoors: Staging Early Modern Drama in the Sam Wanamaker Playhouse. London: Bloomsbury Arden Shakespeare, 2018.CrossRefGoogle Scholar
A Transcript of the Registers of the Worshipful Company of Stationers, from 1640–1708, A.D. 3 volumes. London: privately printed, 1913.Google Scholar
Tuke, Samuel. The Adventures of Five Hours. London: Printed for Henry Herringman, 1663.Google Scholar
Van Lennep, William, Avery, Emmett L., Scouten, Arthur H., Stone, George Winchester, Jr., and Hogan, Charles Beecher, eds. The London Stage, 1660–1800. 5 parts in 11 volumes. Carbondale: Southern Illinois University Press, 1960–1968.Google Scholar
Van Orden, Kate. Music, Discipline, and Arms in Early Modern France. Chicago: University of Chicago Press, 2005.Google Scholar
Walkling, Andrew R. Masque and Opera in England, 1656–1668. Abingdon: Routledge, 2017.Google Scholar
Walls, Peter. Music in the English Courtly Masque, 1604–1640. Oxford: Clarendon Press, 1996.Google Scholar
Walter, Harriet. Brutus and Other Heroines: Playing Shakespeare’s Roles for Women. London: Nick Hern Books, 2016.Google Scholar
Watkins, Stephen. ‘The Protectorate Playhouse: William Davenant’s Cockpit in the 1650s’. Shakespeare Bulletin, 37.1 (2019): 89–109.Google Scholar
Whitlock, Keith. ‘John Playford’s The English Dancing Master 1650/51 as Cultural Politics’. Folk Music Journal, 7.5 (1999): 548–78.Google Scholar
Wilders, John. Macbeth: Shakespeare in Production. Cambridge: Cambridge University Press, 2004.Google Scholar
Wilkinson, Tate. ‘Original Anecdotes Respecting the Stage, and the Actors of the Old School, with Remarks on Mr Murphy’s “Life of Garrick”’. Monthly Mirror, 13 (February 1802): 122–4.Google Scholar
Wilson, John Harold. All the King’s Ladies: Actresses of the Restoration. Chicago: University of Chicago Press, 1958.Google Scholar
Wilson, Michael I. Nicholas Lanier: Master of the King’s Musick. London and New York: Routledge, 1994.Google Scholar
Winn, James A. ‘Heroic Song: A Proposal for a Revised History of English Theatre and Opera, 1656–1711’. Eighteenth-Century Studies, 30.2 (Winter 1996/7): 113–37.Google Scholar
Winn, James A. ‘When Beauty Fires the Blood’: Love and the Arts in the Age of Dryden. Ann Arbor: University of Michigan Press, 1992.Google Scholar
Wiseman, Susan. Drama and Politics in the English Civil War. Cambridge: Cambridge University Press, 1998.Google Scholar
Wollston, Silas. ‘The Instrumentation of English Violin-Band Music’. PhD, The Open University, 2009.Google Scholar
Wollston, Silas. ‘New Light on Purcell’s Early Overtures’. Early Music, 37.4 (2009): 647–55.CrossRefGoogle Scholar
Woods, Leigh. ‘Crowns of Straw on Little Men: Garrick’s New Heroes’. Shakespeare Quarterly, 32.1 (1981): 69–79.Google Scholar
Worthen, William B. The Idea of the Actor: Drama and the Ethics of Performance. Princeton, NJ: Princeton University Press, 1984.Google Scholar