In this selection of research articles, Butterworth focuses on investigation of the practical and technical means by which early English theatre, from the fifteenth to the early seventeenth century, was performed. Matters of staging for both ‘pageant vehicle’ and ‘theatre-inthe-round’ are described and analysed to consider their impact on playing by players, expositors, narrators and prompters. All these operators also functioned to promote the closely aligned disciplines of pyrotechnics and magic (legerdemain or sleight of hand), which also influence the nature of the presented theatre. The 16 chapters form four clearly identified parts—staging, playing, pyrotechnics and magic—and drawing on a wealth of primary source material, Butterworth encourages the reader to rediscover and reappreciate the actors, magicians, wainwrights and wheelwrights, pyrotechnists and (in modern terms) the special effects people and event managers who brought these early texts to theatrical life on busy city streets and across open arenas. The chapters variously explore and analyse the important backwaters of material culture that enabled, facilitated and shaped performance yet have received scant scholarly attention. It is here, among the itemised payments to carpenters and chemists, the noted requirements of mechanics and wheelwrights or tucked away among the marginalia of suppliers of staging and ingenious devices that Butterworth has made his stamping ground. This is a fascinating introduction to the very ‘nuts and bolts’ of early theatre. Staging, Playing, Pyrotechnics and Magic: Conventions of Performance in Early English Theatre is a closely argued celebration of stagecraft that will appeal to academics and students of performance, theatre history and medieval studies as well as history and literature more broadly. It constitutes the eighth volume in the Routledge series Shifting Paradigms in Early English Drama Studies and continues the valuable work of that series (of which Butt
Cover Page 1
Half Title Page 2
Series Page 3
Title Page 6
Copyright Page 7
Contents Page 10
List of figures Page 13
Introduction 16
Part 1 Staging and staging conventions 26
1 ‘The York Mercers’ pageant vehicle, 1433–1467: wheels, steering, and control’, Medieval English Theatre, 1:2 (1979), 72–81 28
2 ‘Hugh Platte’s Collapsible Wagon’, Medieval English Theatre, 15 (1995 [1993]), 126–136 38
3 ‘Pageant carriage maintenance at Chester’, Medieval English Theatre, 39 (2018 [2017]), 5–34h 47
4 ‘Jetties, pentices, purprestures and ordure: obstacles to pageants and processions in London’, Medieval English Theatre, 41 (2020), 166–190 72
5 (with Michael Spence), ‘The work of William Parnell, supplier of staging and ingenious devices, and his role in the visit of Elizabeth Woodville to Norwich in 1469’, Medieval English Theatre, 40 (2018 [2019]), 7–65 92
Part 2 Playing and playing conventions 148
6 ‘The York Crucifixion: actor/audience relationship’, Medieval English Theatre, 14 (1992 [1994]), 67–76 150
7 ‘Jean Fouquet’s the martyrdom of St Apollonia and the rape of the Sabine women as iconographical evidence of Medieval theatre practice’, essays in honour of Peter Meredith, Leeds Studies in English, 29 (1998), 55–67 160
8 ‘Richard Carew’s Ordinary: the First English director’ in The Narrator, the Expositor, and the Prompter in European Medieval Theatre, ed. by Philip Butterworth, Medieval texts and cultures of Northern Europe (Turnout, Belgium: Brepols Publishers, 2007), 329–345 173
9 ‘Prompting in full view of the audience: the Groningen experiment’, Medieval English Theatre, 23 (2001 [2002]), 122–71 188
Part 3 Pyrotechnics 232
10 ‘Hellfire: flame as special effect’ in The Iconography of Hell, ed. by Clifford Davidson and Thomas H. Seiler, Early Drama, Art, and Music Monograph Series, 17 (Western Michigan University: Medieval Institute, Kalamazoo, Michigan, 1992), 67–101 234
11 ‘The light of heaven: flame as special effect’ in The Iconography of Heaven, ed. by Clifford Davidson, early drama, art, and music monograph series, 21 (Western Michigan University: Medieval Institute, Kalamazoo, Michigan, 1994), 128–45 259
12 ‘The providers of pyrotechnics in plays and celebrations’ in Material Culture and Early Drama, ed. by Clifford Davidson, early drama, art, and music monograph series (Western Michigan University: Medieval Institute, Kalamazoo, Michigan, 1999), 59–74 274
Part 4 Magic 286
13 ‘Juggling and staging tricks in early theatre’ in ‘Mainte belle œuvre faicte’, Études sur le théâtre médiéval offertes à professeur Graham A. Runnalls (Orléans: Paradigme, 2005), 39–63 288
14 ‘Brandon, Feats and Hocus Pocus: jugglers three’, Theatre Notebook, 57:2 (2003), 89–106 317
15 ‘Hocus Pocus Junior: further confirmation of its author’, Theatre Notebook, 68:3 (2014), 130–135 336
Postlude 342
16 ‘Is there any further value to be gained from re-staging medieval theatre?’, Research Opportunities in Renaissance Drama, 43 (2004), 1–11 344
Philip Butterworth’s bibliography 353
Index 357
The,York,Mercers;,Pageant,carriage,maintenance,at,Chester;,Hocus,Pocus,Junior
The York Mercers,Pageant carriage maintenance at Chester,Hocus Pocus Junior

upload/alexandrina/Variorum/1105. Philip Butterworth, Peter Harrop - Staging, Playing, Pyrotechnics and Magic (Variorum Collected Studies, Book 1105) (2022) [Retail]/1105. Philip Butterworth, Peter Harrop - Staging, Playing, Pyrotechnics and Magic (Variorum Collected Studies, Book 1105) (2022) [Retail] (2).pdf

upload/misc/variorum/1105. Philip Butterworth, Peter Harrop - Staging, Playing, Pyrotechnics and Magic (Variorum Collected Studies, Book 1105) (2022) [Retail]/1105. Philip Butterworth, Peter Harrop - Staging, Playing, Pyrotechnics and Magic (Variorum Collected Studies, Book 1105) (2022) [Retail] (2).pdf

zlib/no-category/Philip Butterworth & Peter Harrop/Staging, Playing, Pyrotechnics and Magic: Conventions of Performance in Early English Theatre; Shifting Paradigms in Early English Drama Studies_30230576.pdf

Taylor & Francis Group

Taylor & Francis Ltd

Variorum collected studies series, Abingdon, Oxon, 2022

United Kingdom and Ireland, United Kingdom

sources:
9781032050362

producers:
Adobe PDF Library 15.0

"In this selection of research articles Butterworth focuses on investigation of the practical and technical means by which early English theatre, from the fifteenth to the early seventeenth century, was performed. Matters of staging for both 'pageant vehicle' and 'theatre-in-the-round' are described and analysed to consider their impact on playing by players, expositors, narrators and prompters. All these operators also functioned to promote the closely aligned disciplines of pyrotechnics and magic (legerdemain or sleight of hand) which also influence the nature of the presented theatre. The sixteen chapters form four clearly identified parts-staging, playing, pyrotechnics and magic-and drawing on a wealth of primary source material, Butterworth encourages the reader to rediscover and reappreciate the actors, magicians, wainwrights and wheelwrights, pyrotechnists, and (in modern terms) the special effects people and event managers who brought these early texts to theatrical life on busy city streets and across open arenas. The chapters variously explore and analyse the important backwaters of material culture that enabled, facilitated and shaped performance yet have received scant scholarly attention. It is here, among the itemised payments to carpenters and chemists, the noted requirements of mechanics and wheelwrights, or tucked away among the marginalia of suppliers of staging and ingenious devices that Butterworth has made his stamping ground. This is a fascinating introduction to the very 'nuts and bolts' of early theatre. Staging, Playing, Pyrotechnics and Magic: Conventions of Performance in Early English Theatre is a closely argued celebration of stagecraft that will appeal to academics and students of performance, theatre history and medieval studies as well as history and literature more broadly. It constitutes the eighth volume in the Routledge series Shifting Paradigms in Early English Drama Studies and continues the valuable work of that series (of which Butterworth is a general editor) in bringing significant and expert research articles to a wider audience"-- Provided by publisher

In this selection of research articles Butterworth focuses on investigation of the practical and technical means by which early English theatre, from the fifteenth to the early seventeenth century, was performed. Matters of staging for both'pageant vehicle'and'theatre-in-the-round'are described and analysed to consider their impact on playing by players, expositors, narrators and prompters. All these operators also functioned to promote the closely aligned disciplines of pyrotechnics and magic (legerdemain or sleight of hand) which also influence the nature of the presented theatre. The sixteen chapters form four clearly identified parts—staging, playing, pyrotechnics and magic—and drawing on a wealth of primary source material, Butterworth encourages the reader to rediscover and reappreciate the actors, magicians, wainwrights and wheelwrights, pyrotechnists, and (in modern terms) the special effects people and event managers who brought these early texts to theatrical life on busy city streets and across open arenas. The chapters variously explore and analyse the important backwaters of material culture that enabled, facilitated and shaped performance yet have received scant scholarly attention. It is here, among the itemised payments to carpenters and chemists, the noted requirements of mechanics and wheelwrights, or tucked away among the marginalia of suppliers of staging and ingenious devices that Butterworth has made his stamping ground. This is a fascinating introduction to the very ‘nuts and bolts'of early theatre. Staging, Playing, Pyrotechnics and Magic: Conventions of Performance in Early English Theatre is a closely argued celebration of stagecraft that will appeal to academics and students of performance, theatre history and medieval studies as well as history and literature more broadly. It constitutes the eighth volume in the Routledge series Shifting Paradigms in Early English Drama Studies and continues the valuable work of that series (of which Butterworth is a general editor) in bringing significant and expert research articles to a wider audience. (CS 1105).

2024-06-27