The Advent of Women Players and Playwrights in Early Modern France

Gethner, Perry; Gough, Melinda J.

doi:10.1086/688689

Cited by 3 publications

(1 citation statement)

References 6 publications

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“…Mixed-gender performances were not yet commonplace across Europe, consequently exposing actresses to judgment. 58 Personifications even retained their female appearance when represented by male performers, demonstrating the prevalence of personification's gender and the dynamic this affords. 59 Allegorical performances, like decorations, served a pedagogical function.…”

Section: Female Representation In Entry Performancesmentioning

confidence: 99%

Female Representation and Violence in the Ceremonial Entries of the Italian Wars

Reid

2022

Renaissance Studies

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Between 1494 and 1559 the French Valois and the Austro-Spanish Habsburgs fought a series of wars in a competitive bid to expand their territory into the Italian Peninsula. 1 The movement of rulers, their armies, and ambassadors across the peninsula created opportunities for ceremonial entries. City-states and their entrants offset the underlying tension of martial influx through these regimented processions, exhibiting a myriad of martial masculinities and strategically utilising performance, attire and decorations to negotiate their political relationships. 2 Cities created an all-encompassing sensory experience using metaphor-laden apparati and performances on the ground level whilst tapestries and flags drew the eye up to windows inhabited by female spectators, all of which guided the procession to key political and religious sites. Although the events and decorations were ephemeral, accounts of entries circulated, sharing iconography and practices. 3 Scholarship concerning ceremonial entries of the Italian Wars has largely focused on their innovative spectacle which influenced the aesthetic of pan-European royal entries. 4 However, unlike the entry of a sovereign to their own state, the entry of foreign royals and mercenaries into Italian city-states presented a higher risk, necessitating more careful political messaging.In this article, I examine female representation, both living and rendered, to uncover the ever-present specter of gendered violence that was not only a true and present danger during entries but also a baked-in cultural reference

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Section: Female Representation In Entry Performancesmentioning

confidence: 99%

Female Representation and Violence in the Ceremonial Entries of the Italian Wars

Reid

2022

Renaissance Studies

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Women Performers on English Stages 1660–1740

Milling

2019

The Palgrave Handbook of the History of Women on Stage

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‘Before she ends up in a brothel’

Elk¹

2017

Early Modern Low Countries

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This essay explores the first appearance of actresses on the public stage in England and the Dutch Republic. It considers the cultural climate, the theaters, and the plays selected for these early performances, particularly from the perspective of public femininity. In both countries antitheatricalists denounced female acting as a form of prostitution and evidence of inner corruption. In England, theaters were commercial institutions with intimate spaces that capitalized on the staging of privacy as theatrical. By contrast, the Schouwburg, the only public playhouse in Amsterdam, was an institution with a more civic character, in which the actress could be treated as unequivocally a public figure. I explain these differences in the light of changing conceptions of public and private and suggest that the treatment of the actress shows a stronger public-private division in the Dutch Republic than in England.

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The Advent of Women Players and Playwrights in Early Modern France

Cited by 3 publications

References 6 publications

Female Representation and Violence in the Ceremonial Entries of the Italian Wars

Female Representation and Violence in the Ceremonial Entries of the Italian Wars

Women Performers on English Stages 1660–1740

‘Before she ends up in a brothel’

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