Shakespeare and Theatrical Patronage in Early Modern England

During the past quarter of a century, the study of patronage-theatre relations in early modern England has developed considerably. This, however, is an extensive, wide-ranging and representative study of patronage as it relates to Shakespeare and the theatrical culture of his time. Twelve distinguished theatre historians address such questions as: What important functions did patronage have for the theatre during this period? How, in turn, did the theatre impact and represent patronage? Where do paying spectators and purchasers of printed drama fit into the discussion of patronage? The authors also show how patronage practices changed and developed from the early Tudor period to the years in which Shakespeare was the English theatre’s leading artist. This important book will appeal to scholars of Renaissance social history as well as those who focus on Shakespeare and his playwriting contemporaries.

• Largely North American cast list of very big names - Gurr is the UK exception • Coverage is wide and bridges medieval and early modern • Some history as well as literature/theatre market

List of illustrations; List of contributors; Introduction: Shakespeare and theatrical patronage in early modern England Paul Whitfield White and Suzanne R. Westfall; Part I. Theories and Histories: 1. ’The useless dearness of the diamond’: theories of patronage theatre Suzanne R. Westfall; Part II. Shakespearean Patronage: 2. The King’s Men’s king’s men: Shakespeare and folio patronage David M. Bergeron; 3. Shakespeare, the Cobhams and the dynamics of theatrical patronage Paul Whitfield White; 4. Shakespeare, noble patrons and the pleasures of \'common\' playing Leeds Barroll; Part III. From Medieval to Early Modern: 5. ‘What revels are in hand?’: marriage celebrations and patronage of the arts in Renaissance England David Bevington and Milla Riggio; 6. The city as patron: York Alexandra F. Johnston; 7. Theatrical patronage and the urban community during the reign of Mary Mary A. Blackstone; Part IV. Patrons, Players and Audiences: 8. Privy Councilors as theatre patrons Andrew Gurr; 9. Tracking Leicester’s Men: the patronage of a performance troupe Sally-Beth MacLean; 10. Patronage and the companies of boy actors Michael Shapiro; 11. The audience as patron: The Knight of the Burning Pestle Alexander Leggatt; Index.

‘This book offers a rich array of studies … it will act as a stimulus for other scholars.’ Cahiers Elisabethains