Laura Estill

Throughout the seventeenth century, early modern play readers and playgoers copied dramatic extracts into their commonplace books, verse miscellanies, diaries, and songbooks. This is the first book to examine these often overlooked texts, which reveal what early modern audiences and readers took, literally and figuratively, from plays.

Watching, Reading, Changing Plays

Dramatic Extracts in Seventeenth-Century English Manuscripts

Throughout the seventeenth century, early modern play readers and playgoers copied dramatic extracts (selections from plays and masques) into their commonplace books, verse miscellanies, diaries, and songbooks. Dramatic Extracts in Seventeenth-Century English Manuscripts: Watching, Reading, Changing Plays is the first to examine these often overlooked texts, which reveal what early modern audiences and readers took, literally and figuratively, from plays. As this under-examined archival evidence shows, play readers and playgoers viewed plays as malleable and modular texts to be altered, appropriated, and, most importantly, used. These records provide information that is not available in other forms about the popularity and importance of early modern plays, the reasons plays appealed to their audiences, and the ideas in plays that most interested audiences. Tracing the course of dramatic extracting from the earliest stages in the 1590s, through the prolific manuscript circulation at the universities, to the closure and reopening of the theatres, Estill gathers these microhistories to create a comprehensive overview of seventeenth-century dramatic extracts and the culture of extracting from plays. Dramatic Extracts in Seventeenth-Century English Manuscripts: Watching, Reading, Changing Plays explores new archival evidence (from John Milton’s signature to unpublished university plays) while also analyzing the popularity of perennial favorites such as Shakespeare’s The Tempest. The study of dramatic extracts is the study of particulars: particular readers, particular manuscripts, particular plays or masques, particular historic moments. As D. F. McKenzie puts it, “different readers [bring] the text to life in different ways.” By providing careful analyses of these rich source texts, this book shows how active play-viewing and play-reading (that is, extracting) ultimately led to changing the plays themselves, both through selecting and manipulating the extracts and positioning the plays in new contexts. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.

Tamara Atkin

Early British Drama in Manuscript is the first book-length study to focus exclusively on medieval and early modern drama in the context of a rich and varied manuscript culture.00This collection of essays examines medieval and early modern drama in the context of a rich and varied manuscript culture. Focusing on the production, performance, and reception of dramatic documents made in Britain between 1400 and 1700, the essays in this book shed new light on the role of dramatic manuscripts in a range of different social and literary spheres. From extant manuscripts of England's mystery cycles to miscellanies kept by seventeenth-century readers, the documents discussed in this volume reflect a culture of producing and using drama in ways that have been overlooked by the recent critical focus on drama and print by theatre historians and literary critics. By showing the various continuities, exchanges, lendings, and borrowings between medieval and early modern scribal practices, as well as between manuscript and print practices, this volume interrogates accepted critical narratives about the way that drama has been historicized

Early British Drama in Manuscript

This collection of essays examines medieval and early modern drama in the context of a rich and varied manuscript culture. Focusing on the production, performance, and reception of dramatic documents made in Britain between 1400 and 1700, the essays in this book shed new light on the role of dramatic manuscripts in a range of different social and literary spheres. From extant manuscripts of England's mystery cycles to miscellanies kept by seventeenth-century readers, the documents discussed in this volume reflect a culture of producing and using drama in ways that have been overlooked by the recent critical focus on drama and print by theatre historians and literary critics. By showing the various continuities, exchanges, lendings, and borrowings between medieval and early modern scribal practices, as well as between manuscript and print practices, this volume interrogates accepted critical narratives about the way that drama has been historicized.

Laura Estill

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