Theater Crossing Borders: Transnational and Transcultural
Exchange in Early Modern Drama
Robert Henke and Eric Nicholson, Co-editors
The commedia dell'arte actor Tristano Martinelli on the road.
From Compositions de Rhetorique, 1601.
book examines early modern theater as an international phenomenon,
considering in particular the exchanges that occurred across
national and regional borders that demarcated political-linguistic-cultural
entities. Early modern theater is remarkable both in the ways
that it represented transnational exchanges and in the ways that
it enacted them, by means of border-crossing acting troupes;
the transmission of theatrical tropes and gags between actors
and playwrights; the exchanges of actors, playwrights, and theatrical
culture at the aristocratic and thus "supranational" level; the
representation of "foreign" identity; the transmission and translation
of printed plays across national borders; and by many other vehicles.
Early modern theater was capable of generating "contact zones" that
communicated across national and regional boundaries, and allowed
for both material and symbolic exchange. In this volume we are
more interested in cultural relationships of exchange and reciprocity
(which can obtain even in asymmetrically political alignments)
rather than in one-way encounters of hegemony and domination?which,
to be sure, certainly also existed between nations and regions
in the early modern period.|
- Introduction. By Robert Henke
- Section One. Traveling Actors
- Robert Henke (Associate Professor, Washington University), "Border-Crossing
in the Commedia dell'Arte"
- M.A. Katritzky (Research Fellow in Theatre Studies, The
Open University), "English Troupes in Early Modern Germany:
- Section Two. Transportable Units
- Richard Andrews (Professor Emeritus of Italian, University
of Leeds), "A Midsummer Night's Dream and Italian Pastoral"
- Melissa Walter (Assistant Professor,Campion College, University of Regina), "Dramatic Bodies and Novellesque Spaces in
Jacobean Tragedy and Tragicomedy"
- Section Three. The Question of the Actress: Moral and
- Eric Nicholson (Senior Lecturer, Syracuse University
in Florence), "Ophelia Sings Like a Prima Donna Innamorata:
Ophelia's Mad Scene and the Italian Female Performer"
- Jane Tylus (Professor of Italian, New York University), "Theorizing
Women's Place: Nicholas Poussin, The Rape of the Sabines,
and the Early Modern Stage"
- Section Four. Performing Alterity: Doubled National Identity
- Christian Billing (Lecturer in Drama, University of Hull), "The
Dutch Diaspora in English Comedy: 1598 to 1618"
- Susanne Wofford (Professor of English, University of
Wisconsin, Madison), "Foreign Emotions"
- Jaques Lezra (Professor of English and Spanish, University
of Wisconsin, Madison), "Translated Turks on the Early
- Section Five. Performing a Nation: Transregional Exchanges
- Clare McManus (Lecturer in English, Roehampton University,
London), "Epicene in Edinburgh (1672): City Comedy Beyond
the London Stage"
- David Schalkwyk (Professor of English, University of
Cape Town, South Africa), "Proto-nationalist Performatives
and Trans-theatrical Displacement in Henry V"
- Shormistha Panja (Professor of English, University of
Delhi, India), "Shakespeare on the Indian Stage: Resistance,
- Mace Perlman (Professional Actor and Mime), "Reading
Shakespeare, Reading the Masks: Fixed Forms and the Breath
- Select Bibliography.