A01=Robert I. Lublin
Author_Robert I. Lublin
Baggy Breeches
Bishop's Pawn
Bishop’s Pawn
Black Bishop's Pawn
Black Bishop’s Pawn
Black Knight
Category=ATDH
Category=DSBD
Category=DSG
Catholic Vestments
Christian Turned Turk
codes
costume symbolism in English theatre
early
Early Modern
early modern drama
Early Modern English
Early Modern English Stage
Early Modern English Theatre
Early Modern Stage
Edward III
english
English Apparel
eq_art-fashion-photography
eq_bestseller
eq_biography-true-stories
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
Fat Bishop
French Hose
gender representation
Greene's Tu Quoque
Greene’s Tu Quoque
hic
King Edward III
Middleton's Play
Middleton’s Play
modern
mulier
orgel
performance apparel
Queen's Pawn
Queen’s Pawn
Religious Apparel
Richard III
Shakespeare's Richard III
Shakespeare’s Richard III
social identity on stage
stephen
theatre
theatre semiotics
visual
visual culture studies
White Bishop's Pawn
White Bishop’s Pawn
White Queen's Pawn
White Queen’s Pawn
Young Man
Product details
- ISBN 9780754662259
- Weight: 544g
- Dimensions: 156 x 234mm
- Publication Date: 19 Oct 2011
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
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Although scholars have long considered the material conditions surrounding the production of early modern drama, until now, no book-length examination has sought to explain what was worn on the period's stages and, more importantly, how articles of apparel were understood when seen by contemporary audiences. Robert Lublin's new study considers royal proclamations, religious writings, paintings, woodcuts, plays, historical accounts, sermons, and legal documents to investigate what Shakespearean actors actually wore in production and what cultural information those costumes conveyed. Four of the chapters of Costuming the Shakespearean Stage address 'categories of seeing': visually based semiotic systems according to which costumes constructed and conveyed information on the early modern stage. The four categories include gender, social station, nationality, and religion. The fifth chapter examines one play, Thomas Middleton's A Game at Chess, to show how costumes signified across the categories of seeing to establish a play's distinctive semiotics and visual aesthetic.
Robert I. Lublin is Chair of Performing Arts at the University of Massachusetts Boston, USA.
