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Early Modern Two-Part and Sequel Drama, 1490-1590.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	Early Modern Two-Part and Sequel Drama, 1490-1590./
Author:	Baricz, Carla.
Description:	1 online resource (354 pages)
Notes:	Source: Dissertation Abstracts International, Volume: 79-05(E), Section: A.
Contained By:	Dissertation Abstracts International79-05A(E).
Subject:	British & Irish literature. -
Online resource:	click for full text (PQDT)
ISBN:	9780355681208

Early Modern Two-Part and Sequel Drama, 1490-1590.
Baricz, Carla.

Early Modern Two-Part and Sequel Drama, 1490-1590. - 1 online resource (354 pages)

Source: Dissertation Abstracts International, Volume: 79-05(E), Section: A.

Thesis (Ph.D.)--Yale University, 2017.

Includes bibliographical references

"Early Modern Two-Part and Sequel Drama, 1490-1590" examines the relationship between the stage and the page, showing how theatrical forms come into being at the intersection of performance and print. Categorizing plays by following the printed record, most scholarship has tended to group together two-part plays and sequels under the heading of multi-part drama. This dissertation demonstrates how understanding the distinction between two-part and sequel plays can help elucidate the transition from the private great hall performances of the fifteenth century to the commercial theatre model of the 1590s and tell us something about which plays were successful on stage and why. Each chapter of the project captures certain moments in performance history, describing how playwrights turned the demands of patrons, and later of the commercial market, into formal features of drama. At the same time, each chapter explores how stationers reinterpreted such formal features to maximize the profit generated by the playbooks they published and sold. I first address Tudor great hall plays to discuss how these, and similar single works, written with the limitations of a specific venue in mind, subsequently became two-part plays in the hands of printers unfamiliar with publishing secular drama. I then turn to the rise of the commercial sequel to explain how publishers used the preexisting model of the printed two-part play to create collected editions of plays and sequels that were similarly labeled. I compare such publishing methods to the way in which sequels functioned in performance, where they became independent dramatic entities that sought to capitalize on the success of the plays they followed. I then show how playwrights unfamiliar with writing dramatic sequels tried to take advantage of the financial benefits of penning such works for London's public stages, but often failed to take into account what the form required. Finally, I demonstrate how, by the late 1590s, while publishers had begun to envision collections of plays and sequels, playwrights structured their works around the possibility of continuations, moving towards a model now familiar to Hollywood screenwriters, in which a dramatic form's longevity is built-in and predates an audience's interest.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9780355681208Subjects--Topical Terms:

1148425
British & Irish literature.
Index Terms--Genre/Form:

554714
Electronic books.

Early Modern Two-Part and Sequel Drama, 1490-1590.
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245 1 0 $a Early Modern Two-Part and Sequel Drama, 1490-1590.
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500 $a Source: Dissertation Abstracts International, Volume: 79-05(E), Section: A.
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502 $a Thesis (Ph.D.)--Yale University, 2017.
504 $a Includes bibliographical references
520 $a "Early Modern Two-Part and Sequel Drama, 1490-1590" examines the relationship between the stage and the page, showing how theatrical forms come into being at the intersection of performance and print. Categorizing plays by following the printed record, most scholarship has tended to group together two-part plays and sequels under the heading of multi-part drama. This dissertation demonstrates how understanding the distinction between two-part and sequel plays can help elucidate the transition from the private great hall performances of the fifteenth century to the commercial theatre model of the 1590s and tell us something about which plays were successful on stage and why. Each chapter of the project captures certain moments in performance history, describing how playwrights turned the demands of patrons, and later of the commercial market, into formal features of drama. At the same time, each chapter explores how stationers reinterpreted such formal features to maximize the profit generated by the playbooks they published and sold. I first address Tudor great hall plays to discuss how these, and similar single works, written with the limitations of a specific venue in mind, subsequently became two-part plays in the hands of printers unfamiliar with publishing secular drama. I then turn to the rise of the commercial sequel to explain how publishers used the preexisting model of the printed two-part play to create collected editions of plays and sequels that were similarly labeled. I compare such publishing methods to the way in which sequels functioned in performance, where they became independent dramatic entities that sought to capitalize on the success of the plays they followed. I then show how playwrights unfamiliar with writing dramatic sequels tried to take advantage of the financial benefits of penning such works for London's public stages, but often failed to take into account what the form required. Finally, I demonstrate how, by the late 1590s, while publishers had begun to envision collections of plays and sequels, playwrights structured their works around the possibility of continuations, moving towards a model now familiar to Hollywood screenwriters, in which a dramatic form's longevity is built-in and predates an audience's interest.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2018
538 $a Mode of access: World Wide Web
650 4 $a British & Irish literature. $3 1148425
650 4 $a Theater history. $3 1185120
655 7 $a Electronic books. $2 local $3 554714
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