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Staging reform, reforming the stage : Protestantism and popular theater in Early Modern England

Author: Huston Diehl
Publisher: Ithaca : Cornell University Press, 1997.
Edition/Format:   Print book : EnglishView all editions and formats
Database:WorldCat
Summary:
Huston Diehl sees Elizabethan and Jacobean drama as both a product of the Protestant Reformation - a reformed drama - and a producer of Protestant habits of thought - a reforming drama. According to Diehl, the popular London theater, which flourished in the years after Elizabeth reestablished Protestantism in England, rehearsed the religious crises that disrupted, divided, energized, and in many respects  Read more...
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Genre/Form: Criticism, interpretation, etc
History
Document Type: Book
All Authors / Contributors: Huston Diehl
ISBN: 0801433037 9780801433030
OCLC Number: 35574574
Description: xv, 238 pages : illustrations ; 24 cm
Contents: 1. The Drama of Iconoclasm --
2. The Rhetoric of Reform --
3. Censoring the Imaginary: The Wittenberg Tragedies --
4. Rehearsing the Eucharistic Controversies: The Revenge Tragedies --
5. Ocular Proof in the Age of Reform: Othello --
6. Iconophobia and Gynophobia: The Stuart Love Tragedies --
7. The Rhetoric of Witnessing: The Duchess of Malfi.
Responsibility: Huston Diehl.

Abstract:

Huston Diehl sees Elizabethan and Jacobean drama as both a product of the Protestant Reformation - a reformed drama - and a producer of Protestant habits of thought - a reforming drama. According to Diehl, the popular London theater, which flourished in the years after Elizabeth reestablished Protestantism in England, rehearsed the religious crises that disrupted, divided, energized, and in many respects revolutionized English society. Using as her central texts the tragedies of Thomas Kyd, Christopher Marlowe, William Shakespeare, Thomas Middleton, and John Webster, Diehl maintains that plays of the period reflexively explore their own power to dazzle, seduce, and deceive. Employing a reformed rhetoric that is both powerful and profoundly disturbing, they disrupt their own stunning spectacles. Out of this creative tension between theatricality and antitheatricality emerges a distinctly Protestant aesthetic.

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