Lucy Munro is Professor of Shakespeare and Early Modern Literature at King’s College London. She has published three monographs – Children of the Queen’s Revels: A Jacobean Theatre Repertory (Cambridge UP, 2005), Archaic Style in English Literature, 1590-1674 (Cambridge UP, 2013), and Shakespeare in the Theatre: The King’s Men (Bloomsbury, 2020) – and is the editor of plays such as Dekker, Ford, and Rowley’s The Witch of Edmonton (Bloomsbury, 2016), Massinger’s The Picture, in The Routledge Anthology of Early Modern Drama, ed. Jeremy Lopez (Routledge, 2020), and Shirley’s The Gentleman of Venice, in The Works of James Shirley, gen. ed. Eugene Giddens, Teresa Grant and Barbara Ravelhofer (Oxford UP, 2021). She is a contributor to two collaborative research projects that bring together archival research and practice-as-research, Before Shakespeare and Engendering the Stage. Current projects include an edition of King Henry IV, Part 1 for the Arden Shakespeare fourth series and a book on the cultural histories of early modern playhouses.
SEM Modernités 16-18: 04/04/2024, 17 h 30: Lucy Munro (King’s College London), « Marlowe, Lyly and Children’s Performance in Late Elizabethan London », Bib. UFR Etudes anglophones, Sorbonne Université
Le prochain séminaire de Modernités 16-18/ShakeS aura lieu le jeudi 4 avril prochain, de 17 h 30 à 19 h 00 à la Bibliothèque de l’UFR d’études anglophones (esc. G, niveau G), en Sorbonne. Nous aurons le plaisir d’accueillir Lucy Munro (King’s College London) pour une intervention intitulée « Marlowe, Lyly and Children’s Performance in Late Elizabethan London ».
Nous espérons vous y retrouver nombreuses et nombreux,
Bien cordialement,
Line (et pour Alexis)
« Marlowe, Lyly and Children’s Performance in Late Elizabethan London »
This paper offers a reappraisal of the children’s playing companies of late Elizabethan London. It offers new evidence for their management, their relationships with the choirs of the Chapel Royal and St Paul’s Cathedral, and how they acquired and maintained their actors, exploring the implications of this material for how we understand the performance and publication history of plays such as John Lyly’s Galatea and Christopher Marlowe’s Dido, Queen of Carthage