In: Staging History: Essays in Late-Medieval and Humanist Drama, 2021, p. 247-266
This article describes the processes of translation, cutting and rearrangement by which Shakespeare’s Henry V, a play often identified with ‘Britishness’, is adapted for a modern Swiss audience. As a play celebrating a national ‘hero’ and a military history largely unknown to the Swiss, Henry V is adapted to an exploration of political power in the abstract, in particular the...
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In: Household Knowledges: The Home Life of Information in Late Medieval England and France, 2019, p. 100-128
This article explores the tradition of Christmas drama at St John's College, Oxford, where plays both Latin and English, of high and low culture, were central to festive celebrations in the late medieval and early modern periods.
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In: Touching, Devotional Practice and Visionary Experience in the Late Middle Ages, 2019, p. 43-68
In this analysis we explore the sensory performances of the performer, rather than the spectator, in medieval convent drama, particularly the tactile experiences of clothing, props, wigs, and beards worn by female performers presenting male and female characters.
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In: European Medieval Drama, 2018, vol. 22, p. 171-188
This article discusses two Turk plays of Thomas Goffe that were performed at Christ Church in the first quarter of the seventeenth century, and subsequently printed: the plays present events from late medieval history, but with extensive classical allusion. The article considers the plays’ use of theatrical reference and books as props: these devices may have encouraged a particular...
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In: Théâtralisation des arts et des lettres de la Renaissance anglaise, 2018, p. 195-206
The intended authorial title is 'Elizabeth I, Dido and Oxford: Staging Power in the University Drama', and not the one given by mistake at the time of publication. Recent studies of Elizabethan University drama, particularly those focused upon Elizabeth’s visits to the Universities, have considerably advanced our understanding of why particular plays might have been selected as appropriate...
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In: Blood Matters: Studies in European Literature and Thought, 1400-1700, 2018, p. 183-197
This essay discusses blood as 'proof' in the late fifteenth-century Croxton Play of the Sacrament, and in Shakespeare's Macbeth. In Croxton, a bloody severed hand becomes a mark of the guilt of Jew Jonathas in torturing the eucharistic wafer; both Macbeth and his wife repeatedly allude to the ease or difficulty of washing blood off their murdering hands. Drawing evidence from historical...
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In: A critical companion to John Skelton, 2018, p. 114-126
Although only one play by Skelton survives, he wrote others, along with pageant disguising and a devotional poem that he 'devised to be displayed'. It is possible too that Skelton performed some of his poems in court ceremonies or festivals, and he was certainly involved in producing court performances of various kinds. This chapter explores the ways in which Skelton deploys voices and...
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In: A Companion to Medieval Translation, 2019, p. 63-74
This article examines a vernacular Nativity play from the convent at Huy, in modern- day Belgium. The play includes liturgical citations that would have been sung in Latin, alongside the Walloon French lines that translate generically -- scriptural narrative into verse drama -- as well as linguistically. Scriptural narrative is also expanded through the addition of apocryphal material and...
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In: English, 2012, vol. 61, no. 232, p. 102-105
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