Late Tudor and Stuart Drama: Gender, Performance, and Material Culture. This series provides a forum for monographs and essay collections that investigate the material culture, broadly conceived, of theatre and performance in England from the late Tudor to the pre-Restoration Stuart periods (c. 1550–1650).
The editors invite proposals for book-length studies engaging in the material vitality of the dramatic text, political culture, theatre and performance history, theatrical design, performance spaces, gendering court entertainments, child- and adult-actors, music, dance, and audiences in London and on tour. We are also interested in the discursive production of gender, sex, and race in early modern England in relation to material historical, social, cultural, and political structures; changes to and effects of law; monarchy and the republic in dramatic texts; theatre and performance, including performance spaces that are not in theatres. Further topics might include the production and consumption of things and ideas; costumes, props, theatre records and accounts, gendering of spaces and geographies (court, tavern, street, and household, rural or urban), cross-dressing, military or naval excursions, gendered pastimes, games, behaviors, rituals, fashions, and encounters with the exotic, the non-European, the disabled, and the demonic and their reflection in text and performance.
Theodora A. Jankowski
This study considers how John Lyly's characters who are allegorical representations of Elizabeth validate the queen, but at the same time raise troubling issues as to her true nature. Theodora Jankowski looks at both the light and the dark side of the Elizabeth character in each of Lyly's court plays, while at the same time considering how that allegory works in terms of the various issues Lyly debates within the plays. She reveals the fraught nature of John Lyly's relationship to Queen Elizabeth. He was not the first creative artist to introduce subversive undercurrents in entertainments designed to flatter the queen. However, Jankowski demonstrates how Lyly, while praising the queen and accepting her beneficence, simultaneously manages to present his audiences with the "dark queen," the opposite side of the positive image of the Queen of England.