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Peter Brook’s The Empty Space famously begins, I can take any empty space and call it a bare stage. A man walks across this empty space whilst someone else is watching him, and this is all that is needed for an act of theatre to be engaged.[1] Playing and Playgoing in Early Modern England: Actor, […]
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To coincide with the publication of The Cambridge Companion to Shakespeare and Race, we talked to some of the contributors of the volume. We asked them what they hope students and teachers would gain from their chapter, and where they hope the field will go in the future. Read on for their responses… Scott Newstok, […]
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What can musical benefits tell us about the ecology of performance in eighteenth-century Britain? Why did musical benefits become such an integral part of a performer’s work in the eighteenth century? How similar were benefits for performers to those for charities? What did musical benefits look like across Britain, in comparison with those in London? […]
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