2 edition of entertainment of a noble patron: early Tudor household revels. found in the catalog.
entertainment of a noble patron: early Tudor household revels.
Suzanne Ruth.* Westfall
Written in English
|The Physical Object|
|Number of Pages||411|
-- Barnes and Noble Review A "refreshing counterpoint to typical books on Tudor politics and religion." -- Winnipeg Free Press "A distinguished courtier, probable lover of Anne Boleyn, and the first English poet to write a sonnet, Thomas Wyatt (–) was well positioned to make a name in belles lettres, as this lively biography attests. Far from buttressing the image of an enthusiastic patron of court and household plays, key details in diplomatic reports, revels accounts, and play texts demonstrate the tenuous connection between.
The Master of the Revels was the holder of a position within the English, and later the British, royal household, heading the "Revels Office" or "Office of the Revels".The Master of the Revels was an executive officer under the Lord ally he was responsible for overseeing royal festivities, known as revels, and he later also became responsible for stage censorship, until this. Julia Fox On Sister Queens. Julia Fox is an author and historical researcher. She lives in London with her husband, the Tudor historian, John Guy. Her first book was Jane Boleyn: The Infamous Lady Rochford, a study of the lady-in-waiting at the court of Henry VIII of England and the sister-in-law of Anne Boleyn.. This book evolved naturally from my last.
Our records vary unpredictably in their data, and virtually all give a fragmentary picture of their subject. Ac counts keep track of where money went; they do RECORDS OF EARLY ENGLISH DRAMA AND THE COMPUTER Li-Boston Boston Corporation Council or As sembly Minute Books, vol. 1, , Town Clerk's Office, Boston: 1. Revels.8 The license established a trend which playing-companies would follow until the London theaters closed in It created a relationship between playing companies and the Revels Office and confirmed the importance of the patron player relationship. As public theater developed in England so did the tradition of the court masque.
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Sally-Beth MacLean suggests that the importance of a patron's influence at court was a probable cause of increased rewards on tour. See 'The Politics of Patronage: Dramatic Records in Robert Dudley's Household Books', Shakespeare Quarterly (), MacLean is editing the Dudley household records, forthcoming in the REED series.
This chapter analyses the works and authors of some household plays in England during the early Tudor period. The findings reveal that playwrights were closely associated with one and sometimes more than one noble patron. The result also suggests that their works reflected not only their own philosophies, but also those of the aristocrats with whom they were associated.
Van Brun Jones, The Household of a Tudor Nobleman [Urbana, pp. The Black Book clearly sets out the expenses, servants, and privileges to which the Chapel was entitled. Both The Black Book and NHB stipulate that the Chapel was allowed a table at.
Walker, G. The politics of performance in early renaissance drama. Cambridge: Cambridge University Press. Westfall, Suzanne R. Patrons and performance: Early Tudor household revels. Oxford: Clarendon Press. "'A Commonty a christmas gambold or a tumbling trick': Household theatre", in: John D.
Cox--David Scott Kastan (eds.), Representative Medieval and Tudor Plays. New York: Sheed & Ward, Welsford, Enid. The Court Masque: A Study in the Relationship between Poetry and the Revels.
New York: Russell & Russell, Westfall, Suzanne R. Patrons and Performance: Early Tudor Household Revels. In Tudor England, the Revels Office was one of many administrative departments attached to the Royal Household, which included offices such as the Great Wardrobe, the Armoury, the Ordnance, the Mint, the Works, the Toils, and the Tents.
The term ‘Revel’ did not have a precise definition during this period of English court history. Giovanni Pierluigi da Palestrina, Italian Renaissance composer of more than masses and motets, a master of contrapuntal composition.
His works were especially noted for their variety of form and type. Entertainment of a noble patron: early Tudor household revels. book more about Palestrina’s life, music, and legacy.
During the past twenty-five years, many scholars have been working to attribute anonymous early Tudor playtexts to patrons and great household auspices.
Feminist criticism has inspired some of the most refreshing discoveries in household patronage, showing that women took a vital role in artistic production in early modern England. patronage has moved beyond its early preoccupation with royal and noble sponsorship of playing; it now explores the positioning and me- plays designed for both early Tudor and early Stuart royal marriages, different type of patron, the entire city of York.
Through a detailed. The Tudor Revels was a two year project supported by a wide range of community, heritage and amenity organisations and funded by a grant from the Heritage Lottery.
If you would like to know more my forthcoming book, The Culture of Castles in Tudor England and Wales will be available in September from Boydell Press.  Henry Algernon Percy, The Regulations and Establishment of the Household of Henry Algernon Percy, the fifth Earl of Northumberland at his Castles of Wressle and Leakenfield in.
Early music of the British Isles, from the earliest recorded times until the beginnings of the Baroque in the 17th century, was a diverse and rich culture, including sacred and secular music and ranging from the popular to the elite.
Each of the major nations of England, Ireland, Scotland and Wales retained unique forms of music and of instrumentation, but British music was highly influenced. If you would like to know more my forthcoming book, The Culture of Castles in Tudor England and Wales will be available in September from Boydell Press.
 Henry Algernon Percy, The Regulations and Establishment of the Household of Henry Algernon Percy, the fifth Earl of Northumberland at his Castles of Wressle and Leakenfield in.
The Elizabethan era is the epoch in the Tudor period of the history of England during the reign of Queen Elizabeth I (–). Historians often depict it as the golden age in English history. The symbol of Britannia (a female personification of Great Britain) was first used inand often thereafter, to mark the Elizabethan age as a renaissance that inspired national pride through.
During the early part of Elizabeth's reign, revelry was "modest" and "the queen encouraged and attended large-scale pageantry paid for by others." The expenditures in Lord North's household books, as well as the books of others that she visited, list enormous sums laid out for the queen's visits.
The second book of Ackroyd's projected six-volume history of England dives headfirst into its subject matter—with Henry VIII's ascension to the throne. Ackroyd (London: The Biography) covered the roots and earlier years of the Tudor dynasty, including Henry VII's reign, in his previous volume, Foundation.
Elizabethan literature, body of works written during the reign of Elizabeth I of England (–), probably the most splendid age in the history of English literature, during which such writers as Sir Philip Sydney, Edmund Spenser, Richard Hooker, Christopher Marlowe, and William Shakespeare flourished.
S Anglo, Spectacle, Pageantry and Early Tudor Policy, Clarendon Press E Welsford, T he Court Masque: A Study in the Relationship between Poetry and the Revels, Cambridge University Press W R Streitberger, Court RevelsUniversity of Toronto Press Publisher's Notes: The two earlier books A Handbook of Anglo-Saxon Food and A Second Handbook of Anglo-Saxon Food & Drink have been brough together in one volume.
This provides a vast amount of information ( pages) at a reasonable price. A picture is provided of how food was grown, conserved, prepared and eaten during the period from the beginning of the 5th century to the 11th century. 'Childhood, Education, and the Stage in Early Modern England, edited by Richard Preiss and Deanne Williams, was one of the best collections of essays I read this year, drawing on recent critical interest in children’s literature, and in the cultural history of children more broadly, to write new chapters on the theatrical history of the period, to redirect attention to the place of education.
The first extant purely secular play, Henry Medwall's Fulgens and Lucres, was performed at the household of Cardinal Morton, where the young Thomas More was serving as a page.
Early Tudor interludes soon grew more elaborate, incorporating music and dance, and some, especially those by John Heywood, were heavily influenced by French farce.Sydney Anglo, Spectack, Pageantry and Early Tudor Policy (Oxford: Oxford Univer- sity Press, ; repr.
) and W. R. Streitberger, Court Revels, (Toronto: University of Toronto Press, ). Skiles Howard, " 'Ascending the Riche Mount': Performing Hierarchy and Gender.
A few years ago, the producers of the British docu-series Child of Our Time proved how much adult TV a tot can actually comprehend by forcing little kids to watch a scene from Eastenders in which vile Janine shoves her doting husband Barry off a cliff. The children were then asked to describe the bit as they perceived it—but with puppets.
The result: confusion, hilarity, utter.