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117 - Richard Tarlton

from Part XIII - Shakespeare’s Fellows

Published online by Cambridge University Press:  17 August 2019

By
Nora Johnson
Edited by
Bruce R. Smith
Edited in association with
Katherine Rowe
With
Ton Hoenselaars ,
Akiko Kusunoki ,
Andrew Murphy  and
Aimara da Cunha Resende
Bruce R. Smith
Affiliation:
University of Southern California
Katherine Rowe
Affiliation:
Smith College, Massachusetts
Ton Hoenselaars
Affiliation:
Universiteit Utrecht, The Netherlands
Akiko Kusunoki
Affiliation:
Tokyo Woman’s Christian University, Japan
Andrew Murphy
Affiliation:
Trinity College Dublin
Aimara da Cunha Resende
Affiliation:
Universidade Federal de Minas Gerais, Brazil
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Keywords

clownFuller, ThomasjestsMartin Marprelate controversyTwo Maids of More-clacke
Type
Chapter
Information
The Cambridge Guide to the Worlds of Shakespeare , pp. 904 - 908
Publisher: Cambridge University Press
Print publication year: 2016

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References

Sources cited

Champion, Larry S. “The Noise of Threatening Drum”: Dramatic Strategy and Political Ideology in Shakespeare and the English Chronicle Plays. Newark: U of Delaware P, 1990.Google Scholar
The Famous Victories of Henry the fifth; Containing the Honourable Battell of Agin-court. London: 1598.Google Scholar
Fuller, Thomas. The History of the Worthies of England. 3 vols. Ed. Nuttall, P. Austin. London: Thomas Tegg, 1840.Google Scholar
Halasz, Alexandra. “‘So beloved that men use his picture for their signs’; Richard Tarlton and the Uses of Sixteenth-Century Celebrity.” Shakespeare Studies 23 (1995): 19–38.Google Scholar
Hornback, Robert. The English Clown Tradition from the Middle Ages to Shakespeare. Cambridge: D. S. Brewer, 2009.Google Scholar
Nungezer, Edwin. A Dictionary of Actors and of Other Persons Associated with the Public Representation of Plays in England before 1642. New York: AMS Press, 1929. Rpt. 1971.Google Scholar
Tarlton, Richard. Tarlton’s jests. London: 1613.Google Scholar
Tarltons newes out of purgatorie. London: 1590.Google Scholar
Thomson, Peter. “Tarlton, Richard (d.1558).” Oxford Dictionary of National Biography. Oxford: Oxford UP, 2004. http://www.oxforddnb.com./view/article/26971. Accessed 10 June 2011.Google Scholar
Weimann, Robert. Author’s Pen and Actor’s Voice: Playing and Writing in Shakespeare’s Theatre. Ed. Higbee, Helen and West, William. Cambridge: Cambridge University Press, 2000.Google Scholar
Wiles, David. Shakespeare’s Clown: Actor and Text in the Elizabethan Playhouse. Cambridge: Cambridge University Press, 1987.Google Scholar

Further reading

Armin, Robert. Foole upon Foole, or Six sortes of sottes. London: 1600.Google Scholar
Armin, Robert. The History of the two Maids of More-clacke. London: 1609.Google Scholar
Astington, John H. “The Succession of Sots, or Fools and Their Fathers.” Medieval and Renaissance Drama in England 20 (2007): 225–35.Google Scholar
Halasz, Alexandra. The Marketplace of Print: Pamphlets and the Public Sphere in Early Modern England. Cambridge: Cambridge University Press, 1997.CrossRefGoogle Scholar
Kemp, William. Kemps nine daies wonder Performed in a daunce from London to Norwich. London: 1600.Google Scholar
McMillan, Scott, and MacLean, Sally-Beth. The Queen’s Men and Their Plays. Cambridge: Cambridge University Press, 1998.Google Scholar
Ostovich, Helen, Syme, Holger Schott, and Griffin, Andrew. Locating the Queen’s Men, 1583–1603: Material Practices and Conditions of Playing. Burlington: Ashgate, 2009.Google Scholar
Weimann, Robert. Shakespeare and the Popular Tradition in the Theater: Studies in the Social Dimension of Dramatic Form and Function. Baltimore: Johns Hopkins UP, 1978.Google Scholar
Weimann, Robert, and Bruster, Douglas. Shakespeare and the Power of Performance: Stage and Page in the Elizabethan Theatre. Cambridge: Cambridge University Press, 2008.CrossRefGoogle Scholar

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