Critical and historical contexts of the Lord Mayor’s Show
Tracey Hill

this book) was also the heyday of the early modern stage, when theatrical modes of celebration and entertainment were ubiquitous in the rapidly expanding city. I will address the lived experience of the Shows in more depth 2 Pageantry and power 1 The route of the Lord Mayor’s Show in the early modern period in Chapter 3, and will discuss the ways in which the ceremonial elements of the day developed over time further below, but it is worth providing at the outset a brief overview of the structure and content of a ‘typical’ Lord Mayor’s Day (one should note that

in Pageantry and power
Sawdust and Tinsel and Dreams
Dan Williams

, discusses how a symbolic alternation of light and dark is established in the opening sequences; 7 and as Robin Wood notes, there is already a symbolization of breakdown in the early image of broken windmill sails. 8 Dialogue between the driver and Albert represents the intervention of storytelling, a theatrical use of speech, but also the cue for another sequence largely free of dialogue—the famous representation of Frost the clown’s humiliation in a style that seems in places like a parody of silent cinema

in Ingmar Bergman
Open Access (free)
Rodney Barker

officer, but the events up until the point of revelation would have been the same in either case; publicly, a Prussian officer was precisely what Wilhelm Voigt was. This instance casts light on the limitations of the theatrical or mask metaphor of identity. What happened was no different from what would have happened had Voigt been a genuine officer, because as part of a series of public events, that is what he was. Knowing in retrospect that someone was deceiving the world with his or her performance would alter the way events were explained, but not the way in which

in Cultivating political and public identity
Steve Sohmer

the ‘University Wits’ who dominated the Elizabethan theatrical scene. I will also offer some admittedly speculative inferences regarding Shakespeare’s motives. I recognize that the above may strike the reader as a series of extraordinary conjectures; there is no proof that Shakespeare had even met Marlowe. My reading of the play entails that Shakespeare not only knew Marlowe and

in Reading Shakespeare’s mind
Chloe Porter

aesthetics’. 35 Diehl was pioneering in her recognition that theatrical spectacle might form a part of visual culture, yet she ultimately considered a ‘Protestant aesthetics’ to have been impossibly flawed and self-destructive, playwrights ‘killing what they love’ as they demystified ‘the older, miraculous forms of theatricality’. 36 Diehl therefore considered early modern English drama to be in process of

in Making and unmaking in early modern English drama
Staging class aboard the omnibus
Masha Belenky

– be it Théâtre des Français, Théâtre du Gymnase or Théâtre de Variétés.) Fouinet’s assertion is undoubtedly tongue-in-cheek, and yet he rightly captures the intrinsic theatricality of the public transport experience in drawing an explicit parallel between the social world of the omnibus and that of the popular theatre. On the one hand, the omnibus passengers enjoyed the moving spectacle of the modern city in all its multiplicity. Most importantly, however, the interior of the omnibus doubled as a roving theatrical stage where passengers are at once

in Engine of modernity
Open Access (free)
Beckett and nothing: trying to understand Beckett
Daniela Caselli

version, consisting of four sheets of paper, with a substantial section of the third page, numbered 2 in the manuscript, crossed out; this is followed by a single sheet in which both MS 2937/3 and MS 2937/2 appear, the latter placed at the bottom of the page. MS 2937/3 contains four exchanges between P and A, while MS 2937/2 consists of five lines, no longer attributed to any of the two speakers. This dialogue laboriously stages a theatrical death by drinking poison, rehearsed by A and prompted by P (as quoted below, the initials A and P are inconsistently followed by a

in Beckett and nothing
Barbery, earwax and snip-snaps
Eleanor Decamp

achieve. The early modern pulpit and the stage, as Bryan Crockett asserts, are comparable theatrical performing spaces which encourage aural alertness and instil the period’s ‘cult of the ear’.43 Of church-going, Robert Wilkinson observes, ‘Some come not to have their lives reformed, but to have their eares tickled even as at a play.’44 Smith describes the South Bank theatres as ‘instruments for producing, shaping, and propagating sound’.45 The barber’s shop is a similar nodal image of a sound-making site. In a Roman barber’s shop a magpie hones its polyphonic skills

in The senses in early modern England, 1558–1660
Hannah Jones, Yasmin Gunaratnam, Gargi Bhattacharyya, William Davies, Sukhwant Dhaliwal, Emma Jackson, and Roiyah Saltus

time, the very act of reasserting such sovereign authority also served to reveal the fra­gility and precariousness of state power. As Rai points out, political performances are always inherently unstable and open to alternative interpretations. The very act of seeking to make power visible can be regarded as a sign of weakness (because ‘real power’ has no need of such theatrical assertions) or as a demystification of the workings of power

in Go home?
Outdoor screens and public congregations
Ruth Adams

heightened cultural togetherness.’ 3 Does the content determine the nature of these phenomena? Are public broadcasts of royal celebrations qualitatively different from, for example, sporting, theatrical or political events transmitted in a similar fashion? This chapter seeks to answer some of these questions in relation to live public screenings of royal ceremonial and celebration. The novelty and

in The British monarchy on screen