Abstract
This introduction to the special issue, ‘Renaissance Women’s Performance and the Dramatic Canon’, sets out and places in context the concerns with which the remaining essays engage. Opening by discussing uses of the term ‘actress’ by Thomas Kyd, Lording Barry and Philip Massinger, it describes the special issue’s engagement with the work of Natasha Korda, Robert Henke, Rachel Poulsen and others. It argues that criticism of the canonical drama of the professional stage should not overlook women’s performance, suggesting that by doing so scholarship will gain an increased understanding of the ways in which commercial plays responded to an important aspect of theatrical culture.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.