Brief Notices

Brief Notices Lloyd Kermode,Jason Scott-Warren,and Martine van Elk,eds. Tudor Drama Before Shakespeare, 1485-1590: New Directions for Research, Criticism, and Pedagogy. New York: Palgrave Macmillan, 2004. Pp vi + 271. $59.95. Following an introduction by the editors (1-12), this volume contains essays categorized in four parts. Part 1, "Reform, Resistance, and Tradition," includes : Peter Happé, "'Erazed in the booke': The Mystery Cycles and Reform" (15-34); Karen Sawyer Marsalek, "'Doctrine Evangelicall' and Erasmus's Paraphrases in The Resurrection ofOurLord" (35-66); and Paul Whitfield White, "HolyRobin Hood! Carnival, Parish Guilds, and the Outlaw Tradition" (67-90). Part 2 , "Developments in Dramatic Practice," includes: Michelle M. Butler, "Baleus Prolocutor and the Establishment of the Prologue in Sixteenth-Century Drama" (93-110); Janette Dillon, "Chariots and Cloud Machines: Gods and Goddesses on Early English Stages" (111-30); and Alan Somerset, "Some New Thoughts on an Old Question: 'Professional' Touring Theater Outside London Before 1590" (131-40). Part 3,"Pedagogy and Drama in Playhouse and Schoolhouse," includes: Ursula Potter, "Performing Arts in the Tudor Classroom " (143-66); Christopher Gaggero,"Pleasure Unreconciled toVirtue: George Gascoigne and Didactic Drama" (167-94); Terry Reilly, "'This is the case': Gorboducand EarlyModern English Legal Discourse Concerning Inheritance" (195-210).Part 4,"Signs ofDesire and Danger in History andTheory?includes: Todd H. J. Pettigrew,"Sex, Sin, and Scarring: Syphilis in Redford's VWf and Science " (213-28); and Daniel T. Kline,"The Circulation ofthe Letter in Kyd's The Spanish Tragedy" (229-48).The volume concludes with a postscript by Pamela King (249-56), contributor information (257-60), and an index (261-71). Pamela Allen Brown and Peter Parolin, eds. Women Players in England , 1500-1660: Beyond the All-Male Stage. Aldershot, UK: Ashgate, 2005. Pp. xvii + 329. $99.95. This volume begins with a list of illustrations (vii-x), a list of musical transcriptions (xi-xii), contributor information (xiii-xvi), and a general editor's 145 146Comparative Drama preface (xvii). Following an introduction by the editors (1-24), it contains essays categorized in five parts. Part 1,"Beyond London," includes: James Stokes, "Women and Performance: Evidence of Universal Cultural Suffrage in Medieval and Early Modern Lincolnshire" (25-44); and Gweno Williams, Alison Findlay and Stephanie Hodgson-Wright,"Payments, Permits and Punishments: Women Performers and the Politics of Place" (45-70). Part 2,"Beyond Elites," includes: Natasha Korda, "The Case of Moll Frith: Women's Work and the 'AllMale Stage'" (71-88); and Bella Mirabella,"'Quacking Delilahs': Female Mountebanks in EarlyModern England and Italy"(89-108). Part 3,"Beyond the Channel ," includes: M. A. Katritzky, "Reading the Actress in Commedia Imagery" (109-44); Julie D. Campbell,'"Merry, nimble, stirring spirit[s]': Academic, Salon and Commedia dell'arte Influence on the Innamorate in Love's Labour's Lost" (145-70); Rachel Poulsen,"Women Performing Homoerotic Desire in English and Italian Comedy: La Calandria, d'Ingannati and Twelñh Night" (171-92); and Melinda J. Gough, "Courtly Comediantes: Henrietta Maria and Amateur Women's Stage Plays in France and England" (193-218). Part 4, "Beyond the Stage,"includes: Peter Parolin,"TheVenetian Theater ofAletheia Talbot, Countess ofArundel" (219-40); Julie Crawford,"'Pleaders,Atturneys, Petitioners and the like': Margaret Cavendish and the Dramatic Petition" (241-62). Part 5, "Beyond the'All-Male'," includes: Jean E. Howard,"Staging the AbsentWoman: The Theatrical Evocation of Elizabeth Tudor in Heywood's IfYou Know Not Me, You Know Nobody, Part G (263-80); Bruce R. Smith, "Female Impersonation in Early Modern Ballads" (281-304); and Pamela Allen Brown,"Jesting Rights: Women Players in the Manuscript Jestbook ofSir Nicholas Le Strange" (305-14). The volume concludes with an afterword by Phyllis Rackin (315-20) and an index (321-29). Domnica Radulescu and Maria Städter Fox, eds. The Theater of Teachingand the Lessons ofTheater. Lanham: Lexington Books, 2005. Pp. xx + 215. $75.00. Following acknowledgments (ix-x),aprefacebyDomnica Radulescu (xi-xx), and an introduction by Maria Städter Fox (1-4), this volume contains the following essays: Janet E. Gardner, "What We Teach When We Teach Drama: Current Drama Pedagogy in American Colleges and Universities" (5-14); Les Essif,"A Workshop on the Re-CreativeApproach to Performing and Teaching Theater: The Example of...