Abstract
To study the arras in both an architectural and a textual perspective is to highlight the tight links between weaving a tapestry and weaving a text Through a textual and dramatic analysis of poetic writings (Hero and Leander) and plays with comic and tragic insights (Love’s Labours Lost, Henry IV Parts 1 and 2), this paper attempts to underline the integration of the arras in Renaissance drama. Thus, tapestries are considered first as essential features of dramatic technicalities and second as fictional elements supporting a heterogeneous textual composition. The arras on stage exemplifies a double mode of writing, where characters are mirrored by real and/or verbal tapestries. Moreover, the arras proves to be a laminar space from where a whole range of meanings can emerge and touch the Elizabethan audience. The relation between Minerva and Thespis allows us to witness the complexity of a creative area and the significant metamorphosis of a theatrical and pictorial heritage.
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