Renaissance Drama 32: New Series 32
Renaissance Drama, an annual and interdisciplinary publication, is devoted to drama and performance as a central feature of Renaissance culture. The essays in each volume explore traditional canons of drama, the significance of performance (broadly construed) to early modern culture, and the impact of new forms of interpretation on the study of Renaissance plays, theatre, and performance.
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GENEVIEVE LOVE As from the Waste of Sophonisba or Whats Sexy about Stage Directions
Racial CrossDressing on the Early Modern Stage
Vision Violence and Penalty in Shakespeares 2 Henry VI
Sleeping Potions and Poisons in Romeo and Juliet and Antony and Cleopatra
The Roaring Girl and the Wisdom of Tiresias
MARIO DIGANGI Sexual Slander and Working Women in The Roaring Girl
Margaret Cavendish and the Drama of Property
Maternal Agency in 3 Henry VI and King John
Notes on Contributors
Africans Antony Antony’s argues audience Blazing World body Bolsover boy actors Cambridge University Press Chaillot Charles citizen wives Cleopatra cloth comedy Constance Convent of Pleasure critical cross-dressing culture death deﬁned Duchess dyeing Early Modern England English erotic essay father female ﬁgure ﬁnancial ﬁnd ﬁrst gender Gloucester’s hath Henrietta Maria Henry Henry VI husband Ibid identiﬁed ideology John Marston Jonson King John knowledge Lady Happy Laxton London Margaret Cavendish Marston’s Masinissa material men’s Mistress Gallipot Mistress Openwork Moll Moll’s mother Newcastle ofthe onstage Oxford patrilineality performance play play’s playgoing poison political Queen racial readers reading reﬂection Renaissance Renaissance Drama Restoration reveals Roaring Girl role Romeo and Juliet Routledge royalist scene sexual Shakespeare signiﬁcant Sir Alexander slander sleeping potion social Sophonisba speciﬁc stage directions suggests Syphax theater theatrical effects thou Tiresias visual Welbeck Abbey wife William Cavendish woman women writes York York’s