Gentleness and Nobility, John Rastell, c.1525–27

Wakelin, Daniel

doi:10.1093/oxfordhb/9780199566471.013.0012

Cited by 2 publications

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“…Daniel Wakelin has suggested, however, that as Rastell's is the only name securely attached to the interlude, we might contemplate the possibility that he was its author: 'He was on occasion a merchant trading overseas-like the play's Merchant; he was a learned humanist-like the Philosopher; he was also best known as a lawyer and a printer, and it is worth considering the play as the product of his publishing.' 51 Wakelin makes the further point, that, John Rastell being Heywood's father-in-law serves to demonstrate how 'the court was not sealed off from the rest of society'. 52 The broader case he develops is that the interlude moves beyond the debate in Medwall's play, though it is simpler in form, to consider the whole commonweal, and the grounds on which political authority should be earned.…”

Section: IIImentioning

confidence: 99%

“…51 Wakelin makes the further point, that, John Rastell being Heywood's father-in-law serves to demonstrate how 'the court was not sealed off from the rest of society'. 52 The broader case he develops is that the interlude moves beyond the debate in Medwall's play, though it is simpler in form, to consider the whole commonweal, and the grounds on which political authority should be earned.…”

Section: IIImentioning

confidence: 99%

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Patronage, Performativity, and Ideas of Corpus Christi

King¹

2019

History of Universities

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This chapter details relations between Church and state in Richard Fox’s age. The break with Rome, the royal supremacy, and the dissolution of the monasteries irreversibly altered the way in which the early Tudor polity would be conceived. Already in the sixteenth century, accounts of this period were informed by the Reformation. Incidents such as Bishop Fox’s change of plan at Oxford—transforming a primarily monastic ‘Winchester College‘ into the secular Corpus Christi College—became overlaid with foreshadowed significance. Ultimately, Fox’s was the last great age of bishops founding university colleges, since the requisite mix of authority and wealth seldom coalesced so favourably thereafter and certainly could not during the assault on episcopal incomes later in the sixteenth century. Clerical dominance in Church and state made Corpus.

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Section: IIImentioning

confidence: 99%

Section: IIImentioning

confidence: 99%

Patronage, Performativity, and Ideas of Corpus Christi

King¹

2019

History of Universities

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“…27 This play and its printed playbook offer insight into the activities of John Rastell and his son-in-law John Heywood, while highlighting the forces that shaped theatrical repertory in this period, in particular performance venues, audience composition, and authorial collaboration. 28 In Rastell's first printing of the play, which likely post-dates the play's first performances, two paratextual features of the playbook simultaneously illuminate and confuse authorial identity. These two features are the portrait of a lanky man on the frontispiece and the printer's colophon that appears on the last page.…”

Section: Gentylnes and Nobylyte: A Case Study In Collaborationmentioning

confidence: 99%

John Rastell’s London Stage: Reconstructing Repertory and Collaborative Practice

Giles-Watson

2014

Early Theatre

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The study of repertory has greatly illuminated practices among playwrights and playing companies in the later sixteenth century. The repertory approach has yet to be applied to early and mid-Tudor drama, although this method holds out the promise of recovering the collaborative practices connected with John Rastell's stage-the first public stage in London. This article urges scholars active in repertory studies to take a fresh look at Henrician drama and theatrical practices, and employs Heywood and Rastell's play Gentylnes and Nobylyte as a case study in the forces that shaped repertory in this earlier period. In the past twenty-five years the emergence and growth of repertory studies-greatly enabled by the discoveries of the Records of Early English Drama project-has enriched our understanding of the interrelations among playing, playwriting, and performance practices on Elizabethan and Stuart stages. 1 As a method of inquiry, the study of repertory employs 'literary-critical, bibliographical, and theatrical' approaches 2 that focus not only on plays as texts, but also on plays as material artifacts that raise and respond to questions regarding a host of theatrical mysteries. Repertory methods have yet to be applied to early and mid-Tudor drama even though this perspective holds out the possibility of illuminating vexed issues concerning patronage, performance space, performance practice, spectatorship, and authorshipparticularly collaborative authorship. For works from this period, authorship is frequently difficult to determine, but it is useful to analyze plays with contested attribution for the clues they may hold to the practices of playwrights and producers and the collaborative networks within which they operated. 3 This essay examines the playwriting and producing activities of John Rastell and his network in light of such repertorial considerations. Although London theatrical practices changed radically with the development of the later sixteenth-century professional playing companies and commercial theatres, the roots of later stage practices are traceable to the activities of earlier playwrights, players, and patrons. Indeed, the development and

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Gentleness and Nobility, John Rastell, c.1525–27

Cited by 2 publications

References 0 publications

Patronage, Performativity, and Ideas of Corpus Christi

Patronage, Performativity, and Ideas of Corpus Christi

John Rastell’s London Stage: Reconstructing Repertory and Collaborative Practice

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