Refashioning Italian Theatrical and Dramatic Conventions: Prologues, Epilogues and Inductions in Early Modern English Drama
HTML
PDF

How to Cite

Cioni, F. “Refashioning Italian Theatrical and Dramatic Conventions: Prologues, Epilogues and Inductions in Early Modern English Drama”. Early Modern Culture Online, Vol. 4, no. 1, Mar. 2018, doi:10.15845/emco.v4i1.1508.

Abstract

Elizabethan drama used a variety of introductory scenes which can be defined as inductions, provided that we distinguish their dramatic and theatrical functions. In the theatre, the induction is a dramatic device, metatheatrical and metadramatic, which emphasizes the nature of the play. Richard Hosley argues that it is “a short dramatic action introducing a full-length play, normally performed by two or more actors and creating a fictional situation different from that of the play itself.” This article contains a survey of such inductions in the English theatre with parallels in the Italian tradition. The article also contains as an appendix a detailed overview of inductions and dumbshows in English plays.

 

https://doi.org/10.15845/emco.v4i1.1508
HTML
PDF

References

Anonymous, The True Tragedy of Richard III, London, 1594.

Anonymous, A Warning to Fair Women, London, 1599.

Anonymous, Laelia, edited by George C. Moore Smith, Cambridge, Cambridge University Press, 1910.

Anonymous, Laelia edited by Horst-Dieter Blume, Georg Olms Verlag, Hildesheim 1991.

Ariosto, Ludovico, Opere minori, edited by Luigi Polidori, Firenze, Le Monnier, 1857.

Ariosto, Ludovico, Opere Minori, edited by Cesare Segre, Milano-Napoli, Ricciardi, 1964.

Boas, Frederick S., University drama in the Tudor age, Oxford, Oxford University Press, 1914.

Boas Frederick S., The Christmas Prince, The Malone Society reprints, Oxford, Oxford University Press, 1922.

Cioni, Fernando, “Stages at the University of Cambridge in Tudor England”, in English Renaissance Scenes, edited by Paola Pugliatti and Alessandro Serpieri, Oxford, Peter Lang, 2006, pp. 127-154.

Clubb, Louise George, Italian Drama in Shakespeare’s Time, New Haven and London, Yale University Press, 1989.

Creizenach, Willheim, The English drama in the age of Shakespeare, London, Sidwick & Jackson, 1916, pp. 276-277.

Dolce, Ludovico, Fabritia, Venezia, 1549.

Fabia, Philippe, Les Prologues de Terence, Ernest Thorin, Paris 1888.

Giraldi Cinthio, Giovan Battista, Intorno al comporre delle commedie e delle tragedie (1543), in Commedie del Cinquecento, edited by Aldo Borlenghi, Rizzoli, Milano 1959, vol. I.

Goggio, Emilio, “The Prologue in the Commedie Erudite of the Sixteenth Century”, Italica, 18 (1941) pp. 124-132.

Greenfield, Thelma, The Induction in Elizabethan Drama, Eugene, The University of Oregon Press, 1969.

Harbage, Alfred, Annals of English Drama, Philadelphia, University of Pennsylvania Press, 1940.

Herrick, Marvin T., Italian comedy in the Renaissance, Urbana, Illinois University Press, 1960.

Hillebrand, Harold N., “William Percy: An Elizabethan Amateur”, The Huntington Library Quarterly 1 (1938), pp. 391-416.

Hosley, Richard, “Was There a ‘Dramatic Epilogue’ to The Taming of the Shrew?, Studies in English Literature, 1500-1900, 1 (1961), pp. 17-34.

Jonson, Ben, Every Man Out of His Humour, London 1600.

Loredano, Giovanni Francesco, Lo Incendio, Venezia, 1597.

Mehl, Dieter, The Elizabethan Dumb Show, Cambridge (Mass.), Harvard University Press, 1966.

Middleton, Thomas, Michaelmas Term, edited by Theodore B. Leinwand, in The Collected Works, edited by Gary Taylor and John Lavagnino, Oxford, Clarendon Press, 2007.

Moore Smith, George C., College plays performed in the university of Cambridge, Cambridge, Cambridge University Press, 1923.

Taylor, Michael, “Notes”, in Thomas Middleton, A Mad World, My Master and other plays, edited by Michael Taylor, Oxford, Oxford University Press, 1995, p. 318).

Copyright (c) 2018 Fernando Cioni

Creative Commons License

This work is licensed under a Creative Commons Attribution 4.0 International License.

Authors who publish with this journal agree to the following terms:

Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.

Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.

Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).

Bergen Open Access Publishing