CfPs - CALLS FOR PAPERS by M. A. Katritzky
17 October 2024. This is not a CFP. It is an invitation to attend a free public one hour online lecture. Inaugural GOTH Annual Lecture (17 October 2024, 4.30-5.30, online at The Open University).
A link to the eventbrite page is here https://www.eventbrite.co.uk/e/inaugural-goth-annual-lectur... more A link to the eventbrite page is here https://www.eventbrite.co.uk/e/inaugural-goth-annual-lecture-angeliki-lymlymberopoulou-tickets-1030965644997?aff=oddtdtcreator
Angeliki Lymberopoulou:
The Liturgical Space of Heaven and Hell in Byzantine monumental art
The synergy between the physical space of the Byzantine church and the liturgy performed within it gives the Christian faithful a ‘taste’ of eternity. In the Byzantine church, the congregation effectively experiences Heaven, amply enhanced by monumental iconography, but also the gruesome alternatives that await those who sin in this life. The GOTH Lecture explores the function of Byzantine monumental art as a constant reminder of the importance of making ‘wise choices’ in life.
Speaker: Angeliki Lymberopoulou (Open University) is a Byzantine art historian and archaeologist specialising in socio-economic and political contexts of the artistic production of Venetian Crete (1211-1669). Principal Investigator for a Leverhulme project exploring Byzantine representation of Hell (published 2020), she has recently completed a prestigious Dumbarton Oakes Fellowship.
Papers by M. A. Katritzky
Dinah Wouters & Jan Bloemendal (eds) Transnational Encounters in Early Modern Drama, 1450–1750, 2025
In seventeenth-century Europe, the most popular professional theatre was provided by two types of... more In seventeenth-century Europe, the most popular professional theatre was provided by two types of itinerant performers. They are Italian (commedia dell'arte) actors and actresses and male-only touring English actors. Numerous early modern images relate to itinerant Italian players. By contrast, very few relate to the English players in Europe. This chapter discusses ways of identifying and interpreting images of theatrical interest with reference to previously un(der)considered images relating to English and Italian itinerant performers in early modern Europe.
Journal of the Bible and its Reception, 2024
This paper examines a groundbreaking innovation to medieval Easter plays: the creation of the ext... more This paper examines a groundbreaking innovation to medieval Easter plays: the creation of the extra-biblical merchant scene, in which the Marys purchase spices prior to their Visitatio Sepulchri. The patron of its earliest known representation was the female religious leader Uta von Kirchberg. An illuminated roundel in the Uta Codex she commissioned towards the end of her term as abbess of Niedermünster (1002-25), depicts the Holy women purchasing spices from a spice merchant. Until the twelfth century, this remained the only representation of an Easter merchant scene, visual or textual. The only textual Easter merchant scene predating the thirteenth century is within the twelfth-century Latin/Catalan Ludus Paschalis of Vic Cathedral, near Barcelona, a highly influential Easter text whose transnational impact has been traced in numerous later Easter texts across Europe, including many with merchant scenes. Around 2000, musicologists David Wulstan and Constant Mews suggested the renowned composer and poet Heloise (c. 1090s-1164) as its author. Widely accepted by musicologists, their attribution's significance for the female impact on the merchant scene is barely acknowledged. Here, I ask: 'how did women influence the creation, promotion and development of the merchant scene's visual, textual and performative manifestations?' By repeatedly reattributing responsibility for decisive input into the development of the merchant scene from anonymous male scribes to identified female religious leaders, my interdisciplinary analysis moves women to the centre of this creative process.
2020 M A Katritzky. “Shakespeare’s picture of ‘We Three’ An image for illiterates?”.
Duits, Rembrandt ed. The Art of the Poor: The Aesthetic Material Culture of the Lower Classes in Europe, 1300–1600. London: Bloomsbury, pp. 185–198. , 2020
2019. M A Katritzky. “Stefanelo Botarga and Zan Ganassa: Textual and visual records of a musical commedia dell’arte duo, in and beyond early modern Iberia”,
Music in Art 44, pp. 83-104.
2012 M A Katritzky. “‘The picture of “We three”’: a transnational visual and verbal formula before, during and after the lifetime of Shakespeare”.
Filatkina, Natalia; Muench, Birgit Ulrike and Kleine-Engel, Ane eds. Formelhaftigkeit in Text und Bild. Trierer Beitraege zu den historischen Kulturwissenschaften (2). Wiesbaden: Reichert Verlag, pp. 223–244., 2012
2020 M A Katritzky. “The itinerant healer as a stage role: its origins in biblical drama”.
Chanita Goodblatt & Eva von Contzen (eds), Enacting the Bible in Medieval and Early Modern Drama, Manchester University Press (Manchester Medieval Literature and Culture), pp. 81-103., 2020
M A Katritzky (2020). “London and The Hague, 1638: Performing quacks at court”
M A Katritzky & Pavel Drábek (eds), Transnational Connections in Early Modern Theatre, Manchester University Press, pp. 114-138., 2020
2021 M A Katritzky. “William Hogarth and Book Illustration: Visualizing “Otherness” in pre-Victorian images of Shakespeare’s Caliban”.
Pietrini, Sandra ed. Shakespearean Characters Transposed: Iconography, Adaptations, Cultural Exchanges and Staging. L’immaginario teatrale, 1. Alessandria: Edizioni dell’Orso, pp. 65-83 & 237-241., 2021
2021 Unreliable Memories: Documenting the Scenography of the 1589 Florentine intermedi
European Medieval Drama, 2021
The Palgrave Handbook of the History of Women on Stage, 2019
This chapter focuses on a description of performances on offer at an annual fair in mid-seventeen... more This chapter focuses on a description of performances on offer at an annual fair in mid-seventeenth-century Antwerp, by an articulate writer with a particular interest in drama and (though it is a term she herself never uses) actresses. Her account offers exceptionally rare eyewitness insights into the stage practice and audience reception of early modern stage actresses and female fairground performers from the female point of view during the 1650s, the decade in which professional actresses were first officially accepted in Flanders. Its author is the writer, poet, and political and natural philosopher Margaret Cavendish (Tomlinson 1998; Katritzky 2007, 1-19). Cavendish (c.1623-1673), born Margaret Lucas, met and married the Duke of Newcastle, then also exiled from Cromwell's England, in Paris in 1645. In 1648, the couple moved to Antwerp and leased the magnificent city mansion of the Flemish artist Peter Paul Rubens from his widow. They turned Rubens's studio into a riding school and stayed until the 1660 Restoration allowed their permanent return to England (Cavendish 1667, 55, 63, 90). Cavendish was a prolific playwright. She published two volumes of plays under her own name (Cavendish 1662a, 1668), and seventeenth-century diarists indicate her substantial authorial involvement in plays published under her husband's name, notably The Humorous Lovers
2018 Commedia dell’arte related glass: early modern Venice
Drawing on sixteenth and seventeenth century texts and images, this article for the first time br... more Drawing on sixteenth and seventeenth century texts and images, this article for the first time brings together three distinct types of commedia dell’arte related glass. It examines enamelled glassware decorated with masked Zanni and old masters, connects the enamelled decoration of certain Germanic three-pot glasses (‘Stangenglaser’) to Italian stage lovers, and assesses known and newly identified lampwork glass figures of the masked, morra-playing commedia dell’arte military captain (Capitano). Rather than offering any kind of direct insight into stage practice, such glassware draws on a complex mix of influences from the commedia dell’arte, carnival costume, and longstanding iconographic, textual and festival traditions.
2021 Generisches und spezifisches Anderssein: Shackshoone (1665–1680), Antonio Martinelli (1718–1740) und frühneuzeitliche Darstellungen von menschlichen Doppelfehlbildungen
Körper-Bilder in der Frühen Neuzeit, 2021
Theatre Cultures within Globalising Empires, Aug 6, 2018
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European Theatre Performance Practice, 1750–1900, 2014
a s h g a t e. c o m a s h g a t e. c o m a s h g a t e. c o m a s h g a t e. c o m a s h g a t e... more a s h g a t e. c o m a s h g a t e. c o m a s h g a t e. c o m a s h g a t e. c o m a s h g a t e. c o m a s h g a t e. c o m a s h g a t e. c o m a s h g a t e. c o m © Copyrighted Material © Copyrighted Material Introduction * This volume presents foundational and representative essays of the last half century on theatre performance practice during the period 1580 to 1750. Explicitly or implicitly, many essay collections on 'early modern theatre' focus almost exclusively on London. We contend that it is essential to place Shakespeare's theatre in its European context. Some of the most illuminating contemporary accounts of the London amphitheatres were provided by cosmopolitan travellers such as the Swiss physician Thomas Platter. 1 Similarly, a comparative, geographically balanced account italicizes English theatre itself in new ways. Notwithstanding the importance of amateur theatre in universities, religious institutions, Jesuit and other schools, courts, academies, salons and rhetorical chambers, our main focus is professional theatre. Although France was long held back by the Confrérie de la Passion's monopoly over theatrical activity in Paris (see Wiley, 1960, pp. 133-57), the rise of yearround professional theatre in England, Italy and Spain occurred more or less at the same time, between about 1560 and 1580. Our selections range from groundbreaking works of the 1960s, such as J.L. Styan's study of Shakespearean staging and W.L. Wiley and N.D. Shergold's discussions of French and Spanish theatre audiences, to innovative contemporary considerations of the evolution of Italian or English renaissance acting practice, or 'hidden' dimensions of performance, by scholars such as Ronnie Ferguson, Tiffany Stern and Natasha Korda. As such, it complements the treatment of England with essays on the three other major professional theatres of early modern Europe. A comparative approach is fundamental to early modern performance practice, because both theatrical production (emphasized by the term 'theatre') and the literary and dramaturgical dimensions of the play (flagged by the term 'drama') can be productively analysed as international systems. There are at least three reasons for this. First, right across Europe, there were playwrights, dramatic theorists, theatre designers, scenic designers, actors and protodirectors engaged in the shared humanist enterprise of excavating, deciphering, interpreting, adapting and transforming the legacy of ancient Greek, and especially ancient Roman theatre. Renaissance responses to ideas of ancient theatre were various, ranging from uncritical subservience to the flexible and often self-justifying use of general principles (Javitch, 1994), to irreverent-but still highly informed-flouting of classical principles, such as Shakespeare's high-profile violation of the unity of time in The Winter's Tale or Lope de Vega's arch demonstrations of his full awareness of the rules infringed by his plays. 2 Nowhere can the * For helpful suggestions and discussions, we thank the editors of the other volumes in this series; also Susanne Greenhalgh and all our friends and colleagues in Theater Without Borders, most especially
This chapter provides a chronological summary of documented commedia dell’arte influenced activit... more This chapter provides a chronological summary of documented commedia dell’arte influenced activity within the borders of the German-speaking regions from the early modern period to 1770. It first considers the Munich court wedding of 1568. This ranged from commedia-inspired festival costumes and short comic routines featuring commedia dell’arte stock characters, to at least one full-length commedia dell’arte performance, starring the internationally renowned composer and musician Orlando di Lasso. Then it surveys commedia-related entertainments at imperial and other German-speaking courts from the 1570s onwards, the activities of itinerant commedia troupes in the region throughout this period, and the eighteenth-century impact of the comédie italienne on German theatre.
M A Katritzky, The "Bal des Ardents" (1393), Thomas of Woodstock (1397) and Richard II (1400): Three Medieval Conspiracy Rumours and the Scots’ Mine Play (1608), European Medieval Drama 20 (2016), 2017, 105-139
Abstract: Assassination vehicles in Elizabethan and Jacobean tragedies sometimes involve meta-the... more Abstract: Assassination vehicles in Elizabethan and Jacobean tragedies sometimes involve meta-theatrical court festival massacres: court performances embedded within full-length drama, resulting in violent death or trauma to characters in the play. During his career as a playwright (c. 1600–08), John Marston pioneered the masquerade-within as a popular sub-category of court festival massacre. Were such underhand festival appropriations wholly inspired by stage precedents? Or did they also occur in real life? Whether its deaths were accidental or resulted from a botched assassination plot, the 1393 "Bal des Ardents" was hugely culturally and politically influential. Its continuing cultural afterlives bear witness to the geographical, chronological and social shockwaves of a medieval event whose impact illuminates the persistent collective trauma generated by extreme modern assassinations. My researches identify the conspiracy rumours encouraged in the wake of the 1393 Paris disaster and two English conspiracies of 1397 and 1400 linked to court festivals, as key to a fresh approach to the meta-theatrical court festival massacre, and to interpretation of two plays traditionally discussed together, which refer to these English conspiracies, Shakespeare’s "Richard II" and the anonymous "Thomas of Woodstock". My analysis supports a post-Elizabethan dating of "Woodstock", and encourages the hypothesis that it could be the so-called Scots’ Mine Play of 1608, the lost Jacobean play thought by some to have ended Marston’s career as a playwright.
Keywords: "Bal des Ardents", "Thomas of Woodstock", "Richard II", medieval masqueraders, mumming, masque, play-within-a-play, William Shakespeare, John Marston, the Scots’ Mine play or ‘The (Scottish) silver mine’ (lost play of 1608), Elizabethan and Jacobean Revenge Tragedy, meta-theatrical court festival massacres.
Abstract The launch of a new journal on the commedia dell'arte, the first exclusively dedicated t... more Abstract The launch of a new journal on the commedia dell'arte, the first exclusively dedicated to this subject, marks an auspicious time to assess current scholarship in this exceptionally productive interdisciplinary field, and to introduce the new, exciting research findings here presented to the readers of Early Theatre.
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CfPs - CALLS FOR PAPERS by M. A. Katritzky
Angeliki Lymberopoulou:
The Liturgical Space of Heaven and Hell in Byzantine monumental art
The synergy between the physical space of the Byzantine church and the liturgy performed within it gives the Christian faithful a ‘taste’ of eternity. In the Byzantine church, the congregation effectively experiences Heaven, amply enhanced by monumental iconography, but also the gruesome alternatives that await those who sin in this life. The GOTH Lecture explores the function of Byzantine monumental art as a constant reminder of the importance of making ‘wise choices’ in life.
Speaker: Angeliki Lymberopoulou (Open University) is a Byzantine art historian and archaeologist specialising in socio-economic and political contexts of the artistic production of Venetian Crete (1211-1669). Principal Investigator for a Leverhulme project exploring Byzantine representation of Hell (published 2020), she has recently completed a prestigious Dumbarton Oakes Fellowship.
Papers by M. A. Katritzky
Keywords: "Bal des Ardents", "Thomas of Woodstock", "Richard II", medieval masqueraders, mumming, masque, play-within-a-play, William Shakespeare, John Marston, the Scots’ Mine play or ‘The (Scottish) silver mine’ (lost play of 1608), Elizabethan and Jacobean Revenge Tragedy, meta-theatrical court festival massacres.