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124 - William Kemp

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

Burbage, RichardclowndancerdancingfoolGlobe (playhouse)jigKemp, WilliamLord Chamberlain’s Men
Type
Chapter
Information
The Cambridge Guide to the Worlds of Shakespeare , pp. 939 - 942
Publisher: Cambridge University Press
Print publication year: 2016

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References

Sources cited

Baskerville, Charles Read. The Elizabethan Jig and Related Song Drama. 1929. Rpt. New York: Dover, 1965.Google Scholar
Butler, Martin. “Kemp, William (d. in or after 1610?).” Oxford Dictionary of National Biography. Oxford: Oxford UP, 2004. Online edition, 2011. http://www.oxforddnb.com/view/article/15334. Accessed 13 June 2011.Google Scholar
Duncan-Jones, Katherine. “Shakespeare’s Dancing Fool.” Times Literary Supplement 13 August 2010.Google Scholar
Forrest, John. The History of Morris Dancing, 1458–1750. Toronto: U of Toronto P, 1999.Google Scholar
Hornback, Robert. The English Clown Tradition from the Middle Ages to Shakespeare. Cambridge: D. S. Brewer, 2009.Google Scholar
Johnson, Nora. The Actor as Playwright in Early Modern Drama. Cambridge: Cambridge University Press, 2003.Google Scholar
Kemp, William. Kemps nine daies wonder Performed in a daunce from London to Norwich. London: 1600.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
Thomson, Peter. “Clowns, Fools and Knaves: Stages in the Evolution of Acting.” Origins to 1660. Ed. Milling, Jane and Thomson, Peter. Cambridge: Cambridge University Press, 2004. Cambridge Histories Online. Cambridge: Cambridge University Press. http://universitypublishingonline.org/cambridge/histories/. Accessed 13 June 2011. DOI:10.1017/CHOL9780521650403.017.Google Scholar
Thomson, Peter. On Actors and Acting. Exeter: U of Exeter P, 2000.Google Scholar
West, William. “When Is the Jig Up – And What Is It Up To?” Locating the Queen’s Men, 1583–1603: Material Practices and Conditions of Playing. Ed. Ostovich, Helen, Syme, Holger Schott, and Griffin, Andrew. Burlington: Ashgate, 2009. 201–16.Google Scholar
Wiles, David. Shakespeare’s Clown: Actor and Text in the Elizabethan Playhouse. Cambridge: Cambridge University Press, 1987.CrossRefGoogle Scholar

Further reading

Clegg, Roger, and Thomson, Peter. “‘He’s for a jig or a tale of bawdry–’: Notes on the English Dramatic Jig.” Studies in Theatre and Performance 29:1 (February 2009): 67–83.CrossRefGoogle Scholar
Helgerson, Richard. Forms of Nationhood: The Elizabethan Writing of England. Chicago: U of Chicago P, 1992.Google Scholar
Lamb, Mary Ellen. The Popular Culture of Shakespeare, Spenser, and Jonson. London: Routledge, 2006.CrossRefGoogle Scholar
MacLean, Sally Beth. “Tracking Leicester’s Men: The Patronage of a Performance Troupe.” Theatrical Patronage in Early Modern England. Ed. White, Paul Whitfield and Westfall, Suzanne. Cambridge: Cambridge University Press, 2002. 246–71.Google Scholar
Smith, Bruce. The Acoustic World of Early Modern England: Attending to the O-Factor. Chicago: U of Chicago P, 1999.Google Scholar
Weimann, Robert. Shakespeare and the Popular Tradition in the Theater: Studies in the Social Dimension of Dramatic Form and Function. Ed. Schwartz, Robert. Baltimore: Johns Hopkins UP, 1978.CrossRefGoogle Scholar

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