04579oam 22006975 450 991079381190332120231207231138.01-5017-3408-310.7591/9781501734083(CKB)4100000009940495(DE-B1597)533983(OCoLC)1129213682(DE-B1597)9781501734083(MiAaPQ)EBC6525366(Au-PeEL)EBL6525366(EXLCZ)99410000000994049520191126d2019 fy 0engur||#||||||||txtrdacontentcrdamediacrrdacarrierStaging reform, reforming the stage Protestantism and popular theater in Early Modern England /Huston DiehlIthaca, NY :Cornell University Press,[2019]©19971 online resource (256 pages) 16 halftones0-8014-3303-7 Includes bibliography and index.Frontmatter --Contents --Illustrations --Acknowledgments /Diehl, Huston --A Note on Editorial Practice --Introduction --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 --Epilogue --Bibliography --IndexHuston 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. Drawing on the insights of symbolic anthropologists, Diehl explores the relationship between the suppression of late medieval religious cultures, with their rituals, symbols, plays, processions, and devotional practices, and the emergence of a popular theater under the Protestant monarchs Elizabeth and James. Questioning long-held assumptions that the reformed religion was inherently antitheatrical, she shows how the reformers invented new forms of theater, even as they condemned a Roman Catholic theatricality they associated with magic, sensuality, and duplicity. 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.English drama (Tragedy)History and criticismEnglish drama17th centuryHistory and criticismEnglish dramaEarly modern and Elizabethan, 1500-1600History and criticismProtestantism and literatureHistory16th centuryProtestantism and literatureHistory17th centuryRenaissanceEnglandTheaterEnglandHistory16th centuryTheaterEnglandHistory17th centuryMedieval & Renaissance StudiesPerforming Arts & DramaDRAMA / Medievalbisacshthe aftermath of Nagasaki, Hiroshima, atomic bombs, disaster recovery, nuclear attacks, atomic bomb survivors.English drama (Tragedy)History and criticism.English dramaHistory and criticism.English dramaHistory and criticism.Protestantism and literatureHistoryProtestantism and literatureHistoryRenaissanceTheaterHistoryTheaterHistoryMedieval & Renaissance Studies.Performing Arts & Drama.DRAMA / Medieval.822/.051209382Diehl Huston1948-authttp://id.loc.gov/vocabulary/relators/aut1500356DE-B1597DE-B1597BOOK9910793811903321Staging reform, reforming the stage3765664UNINA