Comprehensive Bibliography

Also available: Thematic Bibliographies, Chronologies and Reference Lists, and the Member Library


Primary Sources | Secondary Sources


PRIMARY SOURCES (AND MODERN EDITIONS)

Anon. A Treatise of daunses wherin it is shewed, that they are as it were accessories and dependants (or thinges annexed) to whoredome, where also by the way is touched and proued, that playes are ioyned and knit togeather in a rancke or rowe with them. London, 1581.

Arbeau, Thoinot. Orchesography. Orchésographie, 1589. Translated by Mary S. Evans and edited by Julia Sutton. New York: Dover, 1967.

Butler, Martin. “George Chapman’s Masque of the Twelve Months (1619) [With text].”English Literary Renaissance 37, no. 3 (2007): 360-400.

Caroso, Fabritio. Courtly Dance of the Renaissance: A New Translation and Edition of the “Nobiltà di Dame” (1600). Edited and translated by Julia Sutton. New York: Dover Publications, 1986, 1995.

Castiglione, Baldesar. The courtyer of Count Baldessar Castilio diuided into foure bookes. Very necessary and profitable for yonge gentilmen and gentilwomen abiding in court, palaice or place. Translated by Sir Thomas Hoby. London, 1561.

Compasso, Lutio. Ballo della Gagliarda. 1560. Edited by Barbara Sparti. Freiburg: fa-gisis, 1995.

Cotgrave, Randle, comp. A dictionarie of the French and English tongues. London, 1611.

Davies, Sir John. Orchestra or A poeme of dauncing Iudicially proouing the true obseruation of time and measure, in the authenticall and laudable vse of dauncing. London, 1596.

Dutton, Richard. Jacobean and Caroline Masques. 1981, 2 vols.

Elyot, Sir Thomas. The boke named the gouernour. London, 1531, 1537.

Fetherston, Christopher. A dialogue agaynst light, lewde, and lascivious dauncing. London, 1582.

Gosson, Stephen. The schoole of abuse conteining a plesaunt inuectiue against poets, pipers, plaiers, iesters, and such like caterpillers of a co[m]monwelth. London, 1579.

Jonson, Ben. The Complete Masques, ed. Stephen Orgel. New Haven: Yale University Press, 1969. (The Yale Ben Jonson, vol. IV.)

Kemp, William. Kemps nine daies wonder, performed in a daunce from London to Norwich Containing the pleasure, paines and kinde entertainment of William Kemp betweene London and that citty in his late morrice. London, 1600.

Kendall, G. Yvonne. “Le Gratie d’Amore 1602 by Cesare Negri: Translation and Commentary.” PhD diss., Stanford University, 1985.

Lauze, François de. Apologie de la Danse by F. De Lauze 1623: A Treatise of Instruction in Dancing and Deportment. Edited and translated by Joan Wildeblood. London: Frederick Muller, 1952.

Lindley, David. Court Masques: Jacobean and Caroline Entertainments 1605-1640. Oxford: Oxford University Press, 1995.

Lowin, John. Brief conclusions of dancers and dancing. London, 1609.

_____. Conclusions vpon dances, both of this age, and of the olde. Newly composed and set forth, by an out-landish doctor. London, 1607.

Montagut, Barthélemy de. Louange de la Danse. 1619. Edited by Barbara Ravelhofer. Cambridge, UK: RTM Publications, 2000.

Negri, Cesare. Le Gratie d’Amore. Milan, 1602.

Nevile, Jennifer. Footprints of the Dance: An Early Seventeenth-Century Dance Master’s Notebook. Leiden: Brill, 2018.

Northbrooke, John. Spiritus est vicarius Christi in terra. A treatise wherein dicing, dauncing, vaine playes or enterluds with other idle pastimes [et]c. commonly vsed on the Sabboth day, are reproued by the authoritie of the word of God and auntient writers. Made dialoguewise by Iohn Northbrooke minister and preacher of the word of God. London, 1577.

Orgel, Stephen, and Roy Strong. Inigo Jones: The Theatre of the Stuart Court. Berkeley: University of California Press, 1973. 2 vols.

Playford, John. The English Dancing Master: or, Plaine and easie Rules for the Dancing of Country Dances, with the Tune to each Dance. 1651. Edited by Hugh Mellor and Leslie Bridgewater. London: Dance Books Ltd., 1933, 1984.

Prynne, William. Histrio-mastix. The players scourge, or, actors tragædie, divided into two parts. London, 1632.

Rainolds, John. Th’overthrow of stage-playes, by the way of controversie betwixt D. Gager and D. Rainoldes wherein all the reasons that can be made for them are notably refuted; th’objections aunswered, and the case so cleared and resolved, as that the iudgement of any man, that is not froward and perverse, may easelie be satisfied. [Middelburg,] 1599.

Sabol, Andrew J., ed. Four Hundred Songs and Dances from the Stuart Masque. Brown University Press, 1982.

_____, ed. Songs and Dances from the Stuart Masque. An Edition of Sixty-Three Items of Music for the English Court Masque from 1604 to 1641. Brown University Press, 1959.

Santucci Perugino, Ercole. Mastro da Ballo (Perugia 1614). Edited by Barbara Sparti. Hildesheim: Georg Olms Verlag, 2004.

Spencer, T. J. B., and Stanley Wells, eds. A Book of Masques in Honour of Allardyce Nicoll. Cambridge: Cambridge University Press, 1967.

Stubbes, Phillip. The anatomie of abuses contayning a discouerie, or briefe summarie of such notable vices and imperfections, as now raigne in many Christian countreyes of the worlde: but (especiallie) in a verie famous ilande called Ailgna. London, 1583.


 


Primary Sources | Secondary Sources


SECONDARY SOURCES

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Anders, Jessica. “Walk This Way: A Contextualization of the Dance of Death in MS M.359.” MA thesis, University of Missouri-Columbia, 2016.

Andrea, Bernadette. “Black Skin, the Queen’s Masques: Africanist Ambivalence and Feminine Author(ity) in the Masques of Blackness and Beauty.” English Literary Renaissance 29, no. 2 (1999): 246–81.

Anglo, Sydney. “The Barriers: From Combat to Dance (Almost).” Dance Research 25, no. 2 (2007): 91-106. https://doi.org/10.3366/drs.2007.25.2.91.

_____. Spectacle, Pageantry, and Early Tudor Policy. Oxford: Clarendon Press, 1969.

Arcangeli, Alessandro. Recreation in the Renaissance. New York: Palgrave Macmillan, 2003.

_____. “Dance under Trial: The Moral Debate 1200-1600.” Dance Research 12, no. 2 (1994): 127-155.

Assand, Hardin. “‘To blanch an Ethiop, and revive a corse’: Queen Anne and The Masque of Blackness.” Studies in English Literature 32, no. 2 (1992): 271–95.

Austern, Linda Phyllis. Music in English Children’s Drama of the Later Renaissance. Philadelphia: Gordon and Breach, 1992.

Atwood, Emma. “Scotch Jig or Rope Dance? Choreographic Dramaturgy and Much Ado About Nothing.” Borrowers and Lenders 10, no. 2 (2017). http://www.borrowers.uga.edu/783439/show.

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Barish, Jonas. The Antitheatrical Prejudice. Berkeley, CA: University of California Press, 1981.

Baldwin, Elizabeth. Paying the Piper: Music in Pre-1642 Cheshire. Kalamazoo, MI: Medieval Institute Publications, Western Michigan University, 2002.

Barbour, Richmond. “Britain and the Great Beyond: The Masque of Blackness at Whitehall.” Playing the Globe: Genre and Geography in English Renaissance Drama, ed. John Gillies and Virginia Mason Vaughan, pp. 129–53. Madison, NJ: Fairleigh Dickinson University Press; London: Associated University Presses, 1998.

Barker, Sheila, and Tessa Gurney. “House Left, House Right: A Florentine Account of Marie de Medici’s 1615 Ballet de Madam.” The Court Historian 20, no. 2 (2015): 137-165.

Barlow, Jeremy. A Dance through Time: Images of Western Social Dancing from the Middle Ages to Modern Times. Oxford: Bodleian Library, 2012.

Barroll, Leeds. “Theatre as Text: the Case of Queen Anna and the Jacobean Court Masque.” The Elizabethan Theatre XIV, ed. A. L. Magnusson and C. E. McGee, pp. 175–93. Toronto: Meany, 1996.

Baskervill, Charles Read. The Elizabethan Jig and Related Song Drama. New York: Dover Publications, 1929, 1965.

Beales, Meredith. “Othello: A Dance in Three Acts by Lar Lubovitch, directed by Ashley D. Wheater, and Macbeth by Paul Vasterling, directed by Paul Vasterling.” Theatre Journal 66, no. 1 (2014): 134-136.

Beemer, Suzy. “Masks of Blackness, Masks of Whiteness: Coloring the (Sexual) Subject in Jonson, Cary, and Fletcher.” Thamyris 4, no. 2 (1997): 223–47.

Béhar, Pierre, and Helen Watanabe O’Kelly, eds. Spectaculum Europaeum: Theatre and Spectacle in Europe. Wiesbaden: Harrassowitz, 1999.

Belsey, Catherine. Shakespeare and the Loss of Eden: The Construction of Family Values in Early Modern Culture. Basingstoke: Palgrave Macmillan, 1999.

Bennett, Karen. “Star-cross’d lovers: Shakespeare and Prokofiev’s ‘pas-de-deux’ in Romeo and Juliet.” Cambridge Quarterly 32, no. 4 (2003): 311-347.

Bergeron, David, ed. Pageantry in the Shakespearean Theater. Athens, GA: University of Georgia Press, 1985.

_____. “Pageants, Masques, and History.” The Cambridge Companion to Shakespeare’s History Plays, ed. Michael Hattaway, pp. 41–56. Cambridge: Cambridge University Press, 2002.

Berger, Harry, Jr., “Against the Sink-a-Pace: Sexual and Family Politics in Much Ado About Nothing,” Shakespeare Quarterly 33, no. 3 (1982): 302-313.

Bevington, David, and Peter Holbrook, eds. The Politics of the Stuart Court Masque. Cambridge: Cambridge University Press, 1998.

Biswas, Madhavi. “‘Light Your Cigarette with My Heart’s Fire, My Love’: Raunchy Dances and a Golden-hearted Prostitute in Bhardwaj’s Omkara.”  Borrowers and Lenders 10, no. 2 (2017). http://www.borrowers.uga.edu/783482/show.

Boehrer, Bruce Thomas. “Great Prince’s Donatives: MTV Video and the Jacobean Court Masque.” Studies in Popular Culture 11, no. 2 (1988): 1–21.

Bortoletti, Francesca. “An Allegorical Fabula for the Bentivoglio-d’Este Marriage of 1487.” Dance Chronicle 25, no. 3 (2002): 321-342.

Borys, P. A. M. “Historical Changes in Morris Costume and Sponsorship.” American Morris Newsletter 14, no. 3 (1990): 7-15.

_____. “The Morris Dance and the Elizabethan Stage.” American Morris Newsletter 15, no. 1 (1991): 18-24.

Brainard, Ingrid. “Dance: Middle Ages and Early Renaissance.” Revised by Jennifer Nevile. In Grove Music Online, edited by Deane L. Root, 2014.

_____. “Even Jove Sometimes Nods.” Dance Chronicle 18, no. 2 (1995): 163-169.

_____. “New Dances for the Ball: The Annual Collections of France and England in the 18th Century.” Early Music 14, no. 2 (1986): 164-174.

Brandes, Philip. “Theater Review: Titus Redux at the Kirk Douglas Theatre.” Los Angeles Times, Sept. 3, 2010. latimesblogs.latimes.com/culturemonster/2010/09/theater-review-titus-redux-at-the-kirk-douglas-theatre.html.

Brissenden, Alan. “Dancing Shakespeare.” Dance Australia, June 15, 2017. http://www.danceaustralia.com.au/news/dancing-shakespeare.

_____. Shakespeare and the Dance. Atlantic Highlands, NJ: Humanities Press, 1981, 2001.

_____. “Shakespeare and the Morris.” The Review of English Studies 30, no. 117 (1979): 1-11. [Editor’s note: See John Forrest’s The History of Morris Dancing (1999) for updates and corrections.)

Brooks, Lynn Matluck. The Art of Dancing in Seventeenth-Century Spain: Juan de Esquivel Navarro and His World. London: Associated University Presses, 2003.

_____. “Dance History and Method: A Return to Meaning.” Dance Research 20, no. 1 (2002): 33-53.

_____, ed. Women’s Work: Making Dance in Europe Before 1800. Studies in Dance History. Madison, WI: University of Wisconsin Press, 2008.

Brown, Cedric. John Milton’s Aristocratic Entertainments. Cambridge: Cambridge University Press, 1985.

Brown, Pamela Allen, and Peter Parolin, eds. Women Players in Early Modern England, 1500-1660: Beyond the ‘all-male stage’. Aldershot: Ashgate Press, 2005.

Brown, Sarah, Robert Lublin, and Lynsey McCulloch, eds. Reinventing the Renaissance: Shakespeare and his Contemporaries in Adaptation and Performance. New York: Palgrave MacMillan, 2013.

Bryson, Anna. “The Rhetoric of Status: Gesture, Demeanour and the Image of the Gentleman in Sixteenth- and Seventeenth-Century England.” In Renaissance Bodies: The Human Figure in English Culture c. 1540-1660, edited by Lucy Gent and Nigel Llewellyn, 136-153. London: Reaktion Books, 1990, 1995.

Bryson, John. “Shakespeare and the Dance.” Ballet 2, no. 6 (1946): 28-36.

Buckley, Ann, and Cynthia J. Cyrus, eds. Music, Dance, and Society: Medieval and Renaissance Studies in Memory of Ingrid G. Brainard. Kalamazoo, MI: Medieval Institute Publications, Western Michigan University, 2011.

Burden, Michael. “To repeat (or not to repeat)?: Dance Cues in Restoration English Opera.” Early Music 35, no. 3 (2007): 397-418.

Burke, Peter. The Fortunes of the Courtier: The European Reception of Castiglione’s Cortegiano. University Park, PA: Pennsylvania State University Press, 1996.

Burley, Anne. “Courtly Personages: the Lady Masquers in Ben Jonson’s Masque of Blackness.” Shakespeare and Renaissance Association of West Virginia—Selected Papers 10 (1985): 49–61.

Butler, Martin. “Ben Jonson’s Pan’s Anniversary and the Politics of Early Stuart Pastoral.” English Literary Renaissance 22, no. 3 (1992): 369–404.

_____. “George Chapman’s Masque of the Twelve Months (1619) [With text].”English Literary Renaissance 37, no. 3 (2007): 360-400.

_____. “The Invention of Britain and the Early Stuart Masque.” The Stuart Court and Europe: Essays in Politics and Political Culture, ed. R. Malcolm Smuts, pp. 65–85. Cambridge and New York: Cambridge University Press, 1996.

_____. “Jonson’s News from the New World, the ‘Running Masque,’ and the Season of 1619–20.” Medieval and Renaissance Drama of England 6 (1993): 153–78.

_____. “Private and Occasional Drama.” English Renaissance Drama, ed. A. R. Braunmuller and Michael Hattaway, pp. 131–63. Cambridge: Cambridge University Press, 2003.

_____. The Stuart Court Masque and Political Culture. Cambridge: Cambridge University Press, 2009.

_____. Theatre and Crisis, 1632-1640. Cambridge: Cambridge University Press, 1984.

_____. “‘We Are One Mans All’: Jonson’s The Gipsies Metamorphosed.” Yearbook of English Studies 21 (1991): 252–73.

_____, and Lindley, David. “Restoring Astraea: Jonson’s Masque for the Fall of Somerset.” English Literary History 61, no. 4 (1994): 807–27.

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Canova-Green, Marie-Claude. “From Tragicomedy to Epic: The Court Ballets of Desmarets de Saint-Sorlin.” Dance Research 25, no. 2 (2007): 156-166. https://doi.org/10.3366/drs.2007.25.2.156.

Cavanagh, Sheila T. “A “Merry War”: Synetic’s Much Ado About Nothing and American Post-war  Iconography.” Borrowers and Lenders 10, no. 2 (2017).  http://www.borrowers.uga.edu/783480/show.

Chambers, E. K. The Elizabethan Stage. 4 vols. Oxford: Clarendon Press, 1923.

Chan, Mary. Music in the Theatre of Ben Jonson. Oxford: Clarendon Press, 1980.

Chappell, William. Popular Music of the Olden Time: A Collection of Ancient Songs, Ballads, and Dance Tunes Illustrative of the National Music of England. 2 vols. London, 1859.

Ciccarone, Erica. “With Attitude: Lucy Negro Redux, Nashville Ballet Creates a Seismic Shift in Dance.” Nashville Scene, February 11, 2019. https://www.nashvillescene.com/arts-culture/performance-art/article/21046686/with-attitude-lucy-negro-redux-nashville-ballet-creates-a-seismic-shift-in-dance.

Çikigil, Necla. “Renaissance dance patterns in Shakespeare’s Italian plays: An analysis of dialogues,” Studies in Theatre and Performance 26, no. 3 (2006) 263-272.

_____. “Verbal Painting by means of Dance and Portraits.” In Shakespeare and the Visual Arts: The Italian Influence, ed. Michele Marrapodi, pp. 228-240. New York: Routledge, 2017.

Clegg, Roger, and Lucie Skeaping. Singing Simpkin and Other Bawdy Jigs: Musical Comedy on the Shakespearean Stage, Scripts, Music, and Context. Exeter: Exeter University Press, 2013.

Clement, Jennifer. “Beyond Shakespeare: early modern adaptation studies and its potential.” Literature Compass 10.9 (2013): 677-687.

Clive, H. P. “The Calvinists and the Question of Dancing in the 16th Century.” Bibliothèque d’Humanisme et Renaissance 23, no. 2 (1961): 296-323.

Condit, Jonathan. Music of the Korean Renaissance: Songs and Dances of the Fifteenth Century. Cambridge: Cambridge University Press, 1984, 2009.

Coffey, John, and Paul C. H. Lim, eds. The Cambridge Companion to Puritanism. Cambridge: Cambridge University Press, 2008.

Cohen, Selma Jeanne, ed. International Encyclopedia of Dance: A Project of Dance Perspectives Foundation, Inc. 6 vols. New York: Oxford University Press, 1998.

Corrsin, Stephen D. Sword Dancing in Europe: A History. Enfield Lock, Middlesex: Hisarlik Press, 1997.

Crisp, Clement. “Into the Labyrinth: Kenneth MacMillan and his Ballets.” Dance Research 25, no. 2 (2007): 188-195. https://doi.org/10.3366/drs.2007.25.2.188.

Cross, Gary. A Social History of Leisure Since 1600. State College, PA: Venture Publishing, Inc., 1990.

Crouch, Patricia A. “Dissecting the Royal Subject: the King’s Two Bodies and the Jacobean Court Masque.” Atenea 22, no. 1–2 (2002): 17–30.

Crunelle-Vanrigh, Anny. “Much Ado about Dancing.” Studies in English Literature 57, no. 2 (2017): 275-301.

Cunningham, Dolora. “The Jonsonian Masque as a Literary Form.” English Literary History 22, no. 2 (1955): 108-124.

Cunningham, James. Dancing in the Inns of Court. London: Jordan & Sons, Ltd., 1965.

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Daye, Anne. “The Banqueting House, Whitehall: a site specific to dance.” Historical Dance https://historicaldance.org.uk/jnl/pdf/HistDance4n1p03.pdf4, no. 1 (2004): 3-22. .

_____. “Ben Jonson: Choreographer of the Antimasque.” In Proceedings of the 22nd Society of Dance History Scholars Annual Conference (10-13 June 1999), compiled by Juliette Willis, 185-193. Riverside, CA: Society of Dance History Scholars, 1999.

_____. “Graced with Measures: Dance as an International Language in the Masques of 1613.” In The Palatine Wedding of 1613: Protestant Alliance and Court Festival, ed. Sara Smart and Mara R. Wade, pp. 289-318. Wiesbaden: Harrasowitz Verlag, 2013.

_____, comp. A Lively Shape of Dauncing: Dances of Shakespeare’s Time. Salisbury, Wiltshire: Dolmetsch Historical Dance Society, 1994.

_____. “‘The power of his commanding trident’: Tethys Festival as royal policy.” Historical Dance 4, no. 2 (2012): 19-28. https://historicaldance.org.uk/jnl/pdf/HistDance-2012-V4N2-pp19-28-Daye.pdf.

_____. “The Role of Le Balet Comique in Forging the Stuart Masque: Part 1 The Jacobean Initiative.” Dance Research 32, no. 2 (2014): 185-207.

_____. “The Role of Le Balet Comique in Forging the Stuart Masque: Part 2 Continuation.” Dance Research 33, no. 1 (2015): 50-69.

_____. “Torchbearers in the English masque.” Early Music 26, no. 2 (May 1998): 246-262.

_____. “‘Youthful Revels, Masks, and Courtly Sights’: An introductory study of the revels within the Stuart masque.” Historical Dance 3, no. 4 (1996): 5-22.

Dean-Smith, Margaret, and E. J. Nicol. “‘The Dancing Master’: 1651-1728: Part II. Country Dance and Revelry before 1651.” Journal of the English Folk Dance and Song Society 4, no. 5 (1944): 167-179.

Demaray, John G. Milton and the Masque Tradition. Cambridge, MA: Harvard University Press, 1968.

Dennison, James T. The Market Day of the Soul: The Puritan Doctrine of the Sabbath in England, 1532-1700. Lanham, MD: University Press of America, 1983.

Dessen, Alan, and Leslie Thomson. A Dictionary of Stage Directions in English Drama, 1580-1642. Cambridge: Cambridge University Press, 1999.

Dickson, Lisa, and Andrea Downie. “Hermione Sessions: Dancing, The Winter’s Tale, and the Kinaesthetic Imagination.” Borrowers and Lenders 10, no. 2 (2017). http://www.borrowers.uga.edu/783471/show.

Diekhoff, John S., ed. A Maske at Ludlow. Cleveland: Press of Case Western Reserve University, 1968.

Dillon, Janette. “From Revels to Revelation: Shakespeare and the Mask” Shakespeare Survey 60 (2007): 58-71.

Dolmetsch Historical Dance Society. Tudors and Stuarts: Dances of Court and Country from the time of Elizabeth I and James I. 2nd ed. Berkhamsted, Hertfordshire: DHDS Publications, 2007.

Dolmetsch, Mabel. Dances of England and France from 1450 to 1600: With their Music and Authentic Manner of Performance. New York: De Capo Press, 1949, 1975.

Durham, Janelle, and Peter Durham. “Dances from the Inns of Court.” Printed privately, 1997.

Dutton, Richard. Shakespeare, Court Dramatist. Oxford: Oxford University Press, 2016.

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Edgecombe, Rodney Stenning. “Shakespeare, Ballet and Dance.” In Edinburgh Companion to Shakespeare and the Arts, edited by Mark Thornton Burnett, Adrian Streete, and Ramona Wray, pp. 200-218. Edinburgh: Edinburgh University Press, 2011.

Es, Bart van. Shakespeare in Company. Oxford: Oxford University Press, 2013.

Ewbank, Inga-Stina. “‘The Eloquence of Masques’: A Retrospective View of Masque Criticism.” In Renaissance Drama: Essays Principally on Masques and Entertainments, edited by Samuel Schoenbaum, pp. 307-327. Evanston, IL: Northwestern University Press, 1968.

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Fallows, David. “The Gresley Dance Collection, c.1500.” Royal Musical Association Research Chronicle 29 (1996): 1-20.

Finkelpearl, Philip. John Marston of the Middle Temple: An Elizabethan Dramatist in His Social Setting. Cambridge, MA: Harvard University Press, 1969.

Fiorato, Sidia. “Mise en Scène and Subversion of Political Power through Dance: Sir Kenneth MacMillan’s Romeo and Juliet.” In Visualizing Law and Authority: Essays on Legal Aesthetics, edited by L. Dahlberg, pp. 74-91. Berlin, De Gruyter, 2012.

_____. “Rilettura del potere tramite la danza: Der Sturm – La Tempesta di Jörg Mannes”, in  Iconologia del Potere. Rappresentazioni della sovranità nel Rinascimento, edited by D. Carpi and Sidia Fiorato, pp. 172-194. Ombre Corte: Verona, 2011.

______. “La danza e l’immaginario shakespeariano: Oberon e Titania in The Dream di Sir Frederick Ashton.” In L’immagine e la parola,  edited by C. Battisti, pp. 37-50. Verona: Ombre Corte, 2010.

_____, and John Drakakis, eds. Performing the Renaissance Body: Essays on Drama, Law, and Representation. Berlin: DeGruyter, 2016. Includes “Introduction: Performances, Regulations and Negotiations of the Renaissance Body. Legal and Social Perspectives,” pp. 1-26, and “The Performance of the Queen Consort’s Sovereignty: Queen Anna of Denmark,” pp. 247-272.

Forrest, John. The History of Morris Dancing, 1458-1750. Toronto: University of Toronto Press, 1999.

Fortier, Mark. “Dancing with Shakespeare: Tom Stroud and Winnipeg’s Contemporary Dancers.” Canadian Theatre Review 111 (Summer 2002): 43-45. http://www.canadianshakespeares.ca/multimedia/ctr/pdf/ctr9.pdf.

Foster, Susan Leigh, ed. Choreographing History. Bloomington: Indiana University Press, 1995.

Franko, Mark. Dance as Text: Ideologies of the Baroque Body. Cambridge: Cambridge University Press, 1993.

_____. The Dancing Body in Renaissance Choreography, c. 1416-1589. Birmingham, AL: Summa Publications, 1986.

_____. “Fragment of the Sovereign as Hermaphrodite: Time, History, and the Exception in Le Ballet de Madame.” Dance Research 25, no. 2 (2007): 119-133. https://doi.org/10.3366/drs.2007.25.2.119.

Fultz, Benjamin. “Romeo and Juliet: the ballets.” Dance Chronicle 16, no. 3 (1993): 401-404.

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Gair, Reavley. The Children of Paul’s: The Story of a Theatre Company, 1553-1608. Cambridge: Cambridge University Press, 1982.

Gilman, Ernest B. “‘All eyes’: Prospero’s Inverted Masque.” Renaissance Quarterly 33, no. 2 (1980): 214–30.

Glentzer, Molly. “Dancing with a Vengeance: Dominic Walsh Dance Theater Sinks Teeth Into Titus Andronicus.” Houston Chronicle, Oct. 10, 2008. www.chron.com/entertainment/article/Dance-troupe-sinks-teeth-into-Titus-Andronicus-1774140.php.

Goellner, Ellen W., and Jacqueline Shea Murphy, eds. Bodies of the Text: Dance as Theory, Literature as Dance. New Brunswick: Rutgers University Press, 1995.

Goring, Jeremy. Godly Exercises or the Devil’s Dance? Puritanism and Popular Culture in Pre-Civil War England. London: Dr. William’s Trust, 1983.

Gossett, Suzanne “‘Man-maid, begone!’: Women in Masques.” English Literary Renaissance 18, no. 1 (1988): 96-113.

_____. “Recent Studies in the English Masque.” English Literary Renaissance 26, no. 3 (1996): 586-627.

Gough, Melinda. “The Advent of Women Players and Playwrights in Early Modern France,” with Perry Gethner. Renaissance Drama 44, no. 2 (Fall 2016): 217-232.

_____. “Courtly comédiantes: Henrietta Maria and amateur women’s stage plays in France and England.” In Women Players in Early Modern England, 1500-1660: Beyond the ‘all-male stage’, ed. Pamela Allen Brown and Peter Parolin, pp. 193-215. Aldershot: Ashgate Press, 2005.

_____. Dancing Queen: Marie de Médicis’ Ballets at the Court of Henri IV. Toronto: University of Toronto Press, 2019.

_____. “Dynastic Marriage, Royal Ceremonial, and the Treaties of London (1604-05) and Antwerp (1609).” In Stuart Marriage Diplomacy: Dynastic Politics in their European Context, 1604-1630, ed. Sara J. Wolfson and Valentina Caldari, pp. 287-302. Woodbridge, Suffolk; Rochester, NY: Boydell and Brewer, 2018.

_____. “‘Honny-dewed tongues of harlots’: Circe and the Sirens in Renaissance encyclopedias and mythographic compendiums” (translated as “Circe y las Sirenas en las Mitografías y Enciclopedias del Renacimento”). El libro de las sirenas, ed. J. M. Pedrosa, pp. 129-148. Almería: Exco. Ayuntamiento de Roquetas de Mar, 2002.

_____. “‘Her filthy feature open showne’ in Ariosto, Spenser, and Much Ado About Nothing.” Studies in English Literature, 1500-1900 39, no. 1 (Winter 1999): 41-67.

_____. “Introduction: Gender, Cultural Mobility, and Theater History Inquiry.” with Clare McManus. Renaissance Drama 44, no. 2 (Fall 2016): 187-200.

_____. “Jonson’s Siren Stage.” Studies in Philology XCVI, no. 1 (Winter 1999): 68-95.

_____. “Marie de Medici’s 1605 ballet de la reine and the virtuosic female voice,” Early Modern Women: An Interdisciplinary Journal 7 (2012): 127-156.

_____. “Marie de Medici’s 1605 ballet de la reine: new evidence and analysis.” Early Theatre 15, no. 1 (2012): 109-144.

_____. “A newly discovered performance by Henrietta Maria.” Huntington Library Quarterly 65, no. 3 & 4 (2002): 435-437.

_____. “‘Not as myself’: the Queen’s Voice in Tempe Restored.” Modern Philology 101.1 (August 2003): 48-67.

_____. “Queens and the International Transmission of Political Culture,” co-authored with Malcolm Smuts. The Court Historian 10, no. 1 (2005): 1-13.

_____. “Tasso’s enchantress, Tasso’s captive woman.” Renaissance Quarterly 54, no. 2 (Spring 2001): 523-52.

_____. “Women’s Popular Culture? Teaching the Swetnam controversy.” In Debating Gender in Early Modern England, ed. Cristina Malcolmson and Mihoko Suzuki, pp. 79-100. New York: Palgrave, 2002. Republished in Literature Criticism from 1400 to 1800 (Gale 2011).

Guest, Ivor. Ballet in Leicester Square: The Alhambra and the Empire, 1860-1915. London: Dance Books, 1992.

Gurr, Andrew. Playgoing in Shakespeare’s London, 2nd ed. Cambridge: Cambridge University Press, 1996.

_____. The Shakespearean Playing Companies. Oxford: Clarendon Press, 1996.

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Hall, Kim F. “Sexual Politics and Cultural Identity in The Masque of Blackness.” Critical Essays on Ben Jonson, ed. Robert N. Watson, pp. 237–49. New York: G. K. Hall; London, Prentice Hall, 1997.

Heiter, Gerrit Berenike. “Material Matters: The Representation of Choreographic Events in 17th-Century Festival Books and Court Ballet Programs.” In Dance Studies Association Conference Proceedings (19-22 October 2017), compiled by Jens Giersdorf and Kayla White, pp. 153-172. Dance Studies Association, 2017.

Hirsch, Brett D. “Hornpipes and Disordered Dancing in The Late Lancashire Witches: A Reel Crux?” Early Theatre 16, no. 1 (2013): 139-149.

Hiscock, Andrew. “‘Come, now a roundel and a fairy song'” Shakespeare’s A Midsummer Night’s Dream and the early modern invitation to the dance.” Cahiers Élisabéthains: A Journal of English Renaissance Studies 96, no. 2 (2018): 1-30. https://doi.org/10.1177/0184767818788087.

_____. “Moving Shakespeare: La danse narrative and adapting to the Bard.”  Cahiers Élisabéthains: A Journal of English Renaissance Studies 102, no. 1 (2020): 18-37. https://doi.org/10.1177/0184767820914513.

Holman, Peter. Four and Twenty Fiddlers: The Violin at the English Court, 1540-1690. Oxford: Clarendon Press, 1993.

Howard, Jean Elizabeth. “Dancing Masters and the Production of Cosmopolitan Bodies in Caroline Town Comedy.” In Localizing Caroline Drama: Politics and Economics of the Early Modern Stage, 1625-1642, edited by Alan Farmer and Adam Zucker, pp. 183-211. New York: Palgrave Macmillan, 2006.

Hoskins, Jim. The Dances of Shakespeare. New York: Routledge, 2005. [Ed. note: The suggested dance types and choreographies are usually dramatically appropriate but not necessarily historically accurate.]

Howard, Camille Cole. The Staging of Shakespeare’s Romeo and Juliet as a Ballet. San Francisco: Mellen Research UP, 1992.

Howard, Skiles. “‘Ascending the Riche Mount’: Performing Hierarchy and Gender in the Henrician Masque.” In Rethinking the Henrician Era: Essays on Early Tudor Texts and Contexts, edited by Peter C. Herman, pp. 16-39. Urbana, IL: University of Illinois Press, 1994.

_____. “Hands, Feet and Bottoms: Decentering the Cosmic Dance in A Midsummer Night’s Dream.” Shakespeare Quarterly 44, no. 3 (1993): 325-342.

_____. The Politics of Courtly Dancing in Early Modern England. Amherst: Amherst University of Massachusetts Press, 1998.

Howard, Theresa Ruth. “Nashville Ballet’s New Full-Length Shows What Inclusion in Ballet Could Look Like.” Dance Magazine, February 5, 2019. https://www.dancemagazine.com/lucy-negro-redux-2628067970.html.

Hoxby, Blair. “The Wisdom of Their Feet: Meaningful Dance in Milton and the Stuart Masque.” English Literary Renaissance 37, no. 1 (2007): 74-99.

Hudler, Melissa. “The Body Speaks of Sin: The Voice of Dance in the Middle Ages.” Interdisciplinary Humanities 21.1 (2004): 20-29.

_______. “Dance: The Speaking Body in Jonson’s ‘Pleasure Reconciled to Virtue.’” Ben Jonson Journal 14.2 (2007): 173-91.

_______. “Rapt with sweet pleasure”: The Rhetoric of Dance in Sir John Davies’ Orchestra or A Poem of Dancing. Ben Jonson Journal 25, no. 1 (2018).

_______.  “Review of Renaissance Figures of Speech.” Ed. Sylvia Adamson, Gavin Alexander, and Katrin Ettenhuber. Early Modern Literary Studies 15, no. 1 (2009).

_______.  “Review of Science, Literature, and Rhetoric in Early Modern England.” Ed. Juliet Cummins and David Burchell. Renaissance Studies 23.3 (2009): 392-94.

_______. “The Rhetoric of Statis, Gesture, and Dance in Renaissance Literature.” PhD diss., Anglia Ruskin University, 2014.

Hunter, W. B. Milton’s Comus: Family Piece. New York: Whitston Publishing Co., 1983.

le Huray, Peter. Music and the Reformation in England, 1549-1660. Cambridge: Cambridge University Press, 1967.

Hutcheon, Linda. A Theory of Adaptation. Abingdon: Routledge, 2006.

Hutton, Ronald. The Rise and Fall of Merry England: The Ritual Year, 1400-1700. Oxford: Oxford University Press, 1994.

_____. The Stations of the Sun: A History of the Ritual Year in Britain. Oxford: Oxford University Press, 1996.

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Inglehearn, Madeleine. “Swedish Sword Dances in the 16th and 17th Centuries.” Early Music 14, no. 3 (1986): 367-372.

_____. Ten Dances from Sixteenth-Century Italy. Wiltham, Essex: Companie of Dansers, 1983.

Ingram, Randall. “Pleasure Reconciled to Virtue: Introducing Undergraduates to Stuart Masques and Enjoying It.” Approaches to Teaching English Renaissance Drama, ed. Karen Bamford and Alexander Leggatt, pp. 180–185. New York: Modern Language Association of America, 2002.

Isenberg, Nancy. “Ballet.” In The Cambridge Guide to the Worlds of Shakespeare, vol. II. General editor, Bruce Smith, pp. 1819-1827. New York and Cambridge: Cambridge University Press, 2016.

_______. “Beyond the Black and White Paradigm: The casting of Othello and Desdemona on the ballet stage.” In Postcolonial Shakespeare, edited by Masolino D’Amico and Simona Corso, pp. 157-169. Rome: Edizioni di Storia e Letteratura, 2009.

_______. “Dramatic leaps and political falls: Russian Hamlet ballet in 1991.” In The Hamlet Zone: Reworking Hamlet in European Cultures, edited by Ruth Owen, pp. 17-30. Cambridge, Eng.: Cambridge Scholars Publishing, 2012.

_______. “Dancing with the Stars in Antony and Cleopatra.” In Shakespeare and Rome: Questioning bodies, geographies, cosmographies, edited by Nancy Isenberg, Maria Del Sapio and Maddalena Pennacchia, pp. 341-353. Göttingen: Vandenhoeck & Ruprecht Unipress, 2010.

­­­_______. “Latino Spider Bites: Shifting vocabularies of otherness for Bianca in a recent Othello ballet.” In Forms of Migration/ Migration of Forms, edited by V. Intonti, F. Troisi, M. Vitale, pp. 113-121. Bari, Progeit, 2009.

_______. “Feminist Movement and the Balance of Power in John Cranko’s ballet, The Taming of the Shrew (Stuttgart, 1969).” In Shakespeare and European Politics, edited by Dirk Delabastita, Jozef De Vos and Paul Franssen, pp. 169-178. Newark, DE: Delaware University Press, 2008.

________. “Accommodating Shakespeare to Ballet: John Cranko’s Romeo and Juliet” (Venice, 1958).” In Shifting the Scene: Shakespeare in European Culture, edited by Balz Engler and Ladina Bezzola, pp. 129-139. Newark, DE: University of Delaware Press, 2004.

Iyengar, Sujata. “Moorish dancing in The Two Noble Kinsmen.” Medieval and Renaissance Drama in England: An Annual Gathering of Research, Criticism and reviews (MRDE) 20 (2007): 85-107.

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Jackson, George. “Demographics.” Review of Manassas Dance Company’s “A Midsummer Night’s Dream.” DanceviewTimes 5, no. 21 (2007). http://danceviewtimes.com/2007/Spring/08/manassas.html.

Jackson, Simon. “The Visual Music of the Masque and George Herbert’s Temple.” English Literary Renaissance 45, no. 3 (2015): 377-399.

Jensen, Phebe. Religion and Revelry in Shakespeare’s Festive World. Cambridge: Cambridge University Press, 2008.

Johnston, Alexandra, and Wim N. M. Hüsken, eds. English Parish Drama. Amsterdam: Rodopi, 1996.

Jones, Pamela. “The Editions of Cesare Negri’s Le Gratie d’Amore: Choreographic Revisions in Printed Copies.” Studi musicali 21, no. 1 (1992): 21-33.

_____. “Spectacle in Milan: Cesare Negri’s Torch Dances.” Early Music 14, no. 2 (1986): 182-196.

Judge, Roy. “The ‘country dancers’ in the Cambridge Comus of 1908.” Folklore 110 (1999): 25-38.

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Kendall, G. Yvonne. “Early Renaissance Dance, 1450-1520.” In Performer’s Guide to Renaissance Music, 2nd edition, edited by Jeffery T. Kite-Powell, 377-398. Bloomington: Indiana University Press, 2007.

_____. “Rhythm, Meter, and ‘Tactus’ in 16th-Century Italian Court Dance: Reconstruction from a Theoretical Base.” Dance Research 8, no. 1 (1990): 3-27.

_____. “Theatre, Dance, and Music in Late Cinquecento Milan.” Early Music 32, no. 1 (2004): 74-95.

_____. “Translating Shakespearean Plays: Dance as Rhetorical Device.”  Tennessee Philological Bulletin Vol LIII (2016): 42-62.

Kenley, McDowell E. “Il Mattaccino: Music and Dance of the Matachin and Its Role in Italian Comedy.” Early Music 40, no. 4 (2012): 659-670.

_____. “Mad Fools and the Praise of Folly: Matassins and the Bballets of Lully, Destouches and Campra (1660-1718).” Early Music 45, no. 3 (2017): 445-457.

Kidnie, Margaret Jane. Shakespeare and the Problem of Adaptation. Abingdon: Routledge, 2009.

Kim, Youngmi. “La Volta and Gum-Mu: A Comparison of Court Dance from 16th-Century England and 18th-Century Chosun.” MA thesis, Binghamton University, New York, 2017. [Editor’s Note: Although Kim draws on outdated sources for English court dance, and the argument would work better for the galliard than for the volta, she demonstrates that comparative studies of court dance are worthwhile endeavours.]

Klett, Elizabeth. Choreographing Shakespeare: Dance Adaptations of the Plays and Poems. New York, Routledge, 2019. [order from Routledge]

________. “The Concord of This Discord: Adapting the Late Romances for the Ballet Stage.” Borrowers and Lenders 10, no. 2 (2017).  http://www.borrowers.uga.edu/783469/show.

________. “Dancing tragedy: José Limón’s adaptations of Shakespeare.” Shakespeare 11, no. 1 (2015): 58-81.

________. “Introduction: Dancing (With) Shakespeare.” Borrowers and Lenders 10, no. 2 (2017). http://www.borrowers.uga.edu/783437/show.

________. “Or Not to Be: Dancing Beyond Hamlet in Christopher Wheeldon’s Misericordes/Elsinore.” In Shakespeare’s Hamlet in an Era of Textual Exhaustion, edited by Sonya Freeman Loftis, Allison Kellar, and Lisa Ulevich, pp. 46-58. New York: Routledge, 2017.

________. “‘Who Gets to Tell the Story?’: Adaptation and Juxtaposition in Two Dance Versions of Othello.” Shakespeare Bulletin 34, no. 4 (2016): 601-626.

Knowles, James D. “Masques in the 1619–20 Season.” Notes & Queries 39, no. 3/237 (1992): 369–70.

_____. “Insubstantial Pageants: The Tempest and Masquing Culture.” Shakespeare’s Late plays: New Readings, ed. Jennifer Richards and James Knowles, pp. 108–25. Edinburgh: Edinburgh University Press, 1999.

Kociszewska, Ewa. “War and Seduction in Cybele’s Garden: Contextualizing the Ballet des Polonais.” Renaissance Quarterly 65, no. 3 (2012): 809-863.

Kolkovich, Elizabeth Zeman. “Women Dancing the Morris in Fletcher and Shakespeare’s The Two Noble Kinsmen, 1613–2015.” Shakespeare 13, no. 2(2017): 164-179.

Koutny, Aleksandra. “Dancing with Death in Poland.” Print Quarterly 22, no. 1 (2005): 14-31.

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Lamothe, Virginia Christy. “Dancing at a Wedding: Some Thoughts on Performance Issues in Monteverdi’s ‘Lasciate i monti’ (Orfeo, 1607).” Early Music 36, no. 4 (2008): 533-546.

Lanier, Douglas. “Fertile Visions: Jacobean Revels and the Erotics of Occasion.” Studies in English Literature 39, 2 (Spring 1999): 327–56.

_____. “‘Tied / To Rules of Flattery?’: Court Drama and the Masque.” A Companion to English Renaissance Literature and Culture, ed. Michael Hattaway, pp. 525–44. Oxford and Malden, MA: Blackwell, 2000.

Levin, Kate D. “Coming of Age on Stage: The Pedagogical Masque in Seventeenth-Century England.” George Herbert Journal 29, no. 1/2 (2005/2006): 114-130.

Lewalski, Barbara Kiefer. “Enacting Opposition: Queen Anne and the Subversions of Masquing.” Writing Women in Jacobean England. Cambridge, MA: Harvard University Press, 1993.

Limon, Jerzy. The Masque of Stuart Culture. Newark: University of Delaware Press, 1990.

_____. “The Masque of Stuart Culture.” The Mental World of the Jacobean Court, ed. Linda Levy Peck, pp. 209–29. Cambridge: Cambridge University Press, 1991.

Lin, Erika T. Shakespeare and the Materiality of Performance (New York: Palgrave Macmillan, 2012). Chapter 4: “Dancing and Other Delights: Spectacle and Participation in Doctor Faustus and Macbeth.”

Lindley, David, ed. The Court Masque. Manchester: Manchester University Press, 1984.

_____. “Courtly Play: the Politics of Chapman’s The Memorable Masque.” The Stuart Courts, ed. Eveline Cruickshanks, pp. 43–58. Stroud: Sutton, 2000.

_____. “Embarrassing Ben: the Masques for Frances Howard.” English Literary History 16, no. 2 (Spring 1986): 343–59.

________. “A Witch in the Morris: Hobbyhorse Tricks and Early Modern Erotic Transformations.” In The Oxford Handbook of Dance and Theater, edited by Nadine George-Graves (Oxford: Oxford University Press, 2015), 335-361.

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Macaulay, Alastair. “A Pair of Dreams to Compare and Savor: At Lincoln Center, Ballets by Balanchine and Ashton.” The New York Times, June 1, 2014. https://www.nytimes.com/2014/06/01/arts/dance/at-lincoln-center-ballets-by-balanchine-and-ashton.html.

________. “A Peace on Both Your Houses: Lovers Alive and Well.” Review of Mark Morris Dance Group’s “Romeo and Juliet, on Motifs of Shakespeare.” The New York Times, July 7, 2008. http://www.nytimes.com/2008/07/07/arts/dance/07rome.html.

________. “Review: Balanchine and Shakespeare Catch Some Waves in Miami.” The New York Times, March 21, 2016.  https://www.nytimes.com/2016/03/21/arts/dance/review-balanchine-and-shakespeare-catch-some-waves-in-miami.html.

________. “Review: Dark Suspicions in Jumps and Gestures in ‘The Winter’s Tale’.” The New York Times, January 22, 2016.  https://www.nytimes.com/2016/01/22/arts/dance/review-dark-suspicions-in-jumps-and-gestures-in-the-winters-tale.html.

________. “Review: In Bolshoi’s Ballet, No Shrew to Tame.” The New York Times, July 27, 2017. https://www.nytimes.com/2017/07/27/arts/dance/bolshoi-ballet-taming-of-the-shrew-review.html.

________. “Romeo (and Juliet), How Many Art Though? 1 Ballet Score, Many Stagings.” The New York Times, March 28, 2017.  https://www.nytimes.com/2017/03/28/arts/dance/romeo-and-juliet-how-many-art-thou-1-ballet-score-many-stagings.html.

________. “To Dance, Perchance to Dream: Shakespeare’s Plays are a Natural Fit with Dance.” The New York Times, March 30, 2014. https://www.nytimes.com/2014/03/30/arts/dance/shakespeares-plays-are-a-natural-fit-with-dance.html.

________. “To Strut (and Leap) on a Stage:  American Ballet Theater’s Shakespeare Program.” The New York Times, July 2, 2014. https://www.nytimes.com/2014/07/02/arts/dance/american-ballet-theaters-shakespeare-program.html.

Mackrell, Judith. Royal Ballet: The Winter’s Tale review: “A game-changer for Wheeldon.” The Guardian, April 11, 2014. https://www.theguardian.com/stage/2014/apr/11/royal-ballet-winters-tale-review-christopher-wheeldon.

________. “Matthew Bourne’s protege James Cousins on his dance with Shakespeare.” The Guardian, March 2, 2017. https://www.theguardian.com/stage/2017/mar/02/matthew-bourne-james-cousins-dance-shakespeare-rosalind

________. “Modern lovers: Romeo and Juliet set in Orwell’s 1984? Nothing could be more natural for the French-Albanian choreographer Angelin Preljocaj, says Judith Mackrell.” The Guardian, September 27, 2000.  https://www.theguardian.com/culture/2000/sep/28/artsfeatures

________. “Which Shakespeare plays make the best ballets?” The Guardian, April 23, 2014. https://www.theguardian.com/stage/dance-blog/2014/apr/23/shakespeare-plays-ballets-450-birthday-william-wheeldon-winters-tale.

MacIntyre, Jean. “Prince Henry’s Satyrs: Topicality in Jonson’s Oberon.” A Search for Meaning: Critical Essays on Early Modern Literature, ed. Paula Harms Payne, pp. 95–104. New York: Peter Lang, 2004.

_____. “Queen Elizabeth’s Ghost at the Court of James I: The Masque of Blackness, Lord Hay’s Masque, The Haddington Masque, and Oberon.” Ben Jonson Journal 5, no. 1 (1998): 81–100.

Maguire, Nancy Klein. “The Theatrical Mask/Masque of Politics: The Case of Charles I.” Journal of British Studies 28:1 (1989): 1-22.

Major, John  M. “The Moralization of the Dance in Elyot’s Governour.” Studies in the Renaissance 5 (1958): 27-36.

Marcus, Leah S. “City Metal and Country Mettle: the Occasion of Ben Jonson’s Golden Age Restored.” Pageantry in the Shakespearean Theater, ed. David M. Bergeron, pp. 26–47. Athens, GA: University of Georgia Press, 1985.

_____. “Masquing Occasions and Masque Structure.” Research Opportunities in Renaissance Drama 24 (1981): 7–16.

_____. The Politics of Mirth: Jonson, Herrick, Milton, Marvell, and the Defense of Old Holiday Pastimes. Chicago: University of Chicago Press, 1986.

Marsh, Christopher. Music and Society in Early Modern England. Cambridge: Cambridge University Press, 2010.

Maurer, Margaret. “Reading Ben Jonson’s Queens.” Seeking the Woman in Late Medieval and Renaissance Writings: Essays in Feminist Contextual Criticism, ed. Sheila Fisher and Janet E. Halley, pp. 233–63. Knoxville: University of Tennessee Press, 1989.

McCulloch, Lynsey. ‘“Here’s that shall make you dance”: movement and meaning in Bern: Ballett’s Julia und Romeo.” Reinventing the Renaissance: Shakespeare and his Contemporaries in Adaptation and Performance, edited by Sarah Annes Brown, Robert I. Lublin, and Lynsey McCulloch, pp. 255-268. Basingstoke: Palgrave Macmillan, 2013.

________. “Shakespeare and Dance.” Literature Compass 13, no. 2 (2016): 69-78.

________, and Brandon Shaw, eds. The Oxford Handbook of Shakespeare and Dance. Oxford: Oxford UP, 2019.

McGee, Timothy J., ed., Improvisation in the Arts of the Middle Ages and Renaissance. Early Drama, Art, and Music Monograph Series 30. Kalamazoo, MI: Medieval Institute Publications, Western Michigan University, 2003.

  • Kendall, G. Yvonne. “Ornamentation and Improvisation in Sixteenth-Century Dance.”
  • Nevile, Jennifer. “Disorder in Order: Improvisation in Italian Choreographed Dances of the Fifteenth and Sixteenth Centuries.”
  • Sparti, Barbara. “Improvisation and Embellishment in Popular and Art Dances in Fifteenth- & Sixteenth-Century Italy.”

McGinnis, Katherine Tucker. “At Home in the ‘Casa del trombone’: A Social-Historical View of Milanese Dancing Masters.” In Proceedings of the 20th Society of Dance History Scholars Annual Conference (19-22 June 1997). Riverside, CA: Society of Dance History Scholars, 1997.

_____. “‘Face Time—Mask Time’: The Merging and Diverging of Public and Private Space in Sixteenth-Century Dance Practices.” In Virtute et arte del danzare: Contributi di storia della danza in onore di Barbara Sparti, edited by Alessandro Pomtremoli, pp. 83-97. Rome: ARACNE editrice, 2011.

_____. “Moving in High Circles: Courts, Dance, and Dancing Masters in Italy in the Long Sixteenth Century.” PhD diss., University of North Carolina at Chapel Hill, 2001.

McGowan, Margaret M. Dance in the Renaissance: European Fashion, French Obsession. New Haven: Yale University Press, 2008. [Regarding errors in this work, see Angene Feves’ review, “Renaissance Dance Scholarship: Read but Verify” in Dance Chronicle 32, no. 3 (2009): 499-504.]

McJannet, Linda. “A hall, a hall! Give room, and foot it, girls”: Realizing the Dance Scene in Romeo and Juliet on Film.” Borrowers and Lenders 10, no. 2 (2017). http://www.borrowers.uga.edu/783440/show.

________. “Embodying the Sea: Shakespeare and Physical Theatre.” In Shakespeare On Stage and Off. Edited by Kenneth Graham and Alysia Kolentsis, pp. 76-89. Montreal & Kingston, London, and Chicago: McGill-Queen’s University Press, 2019.

_____. The Voice of Elizabethan Stage Directions: The Evolution of a Theatrical Code. Newark, DE: University of Delaware Press, 2003.

________, and Emily F. Winerock. “Dancing on Her Grave: Shakespeare’s Tragic Heroines on Film.” Dance Chronicle 39, no. 2 (2016): 56-76.

McManus, Clare. “Defacing the Carcass: Anna of Denmark and Ben Jonson’s Masque of Blackness.” Refashioning Ben Jonson: Gender, Politics, and the Jonsonian Canon, ed. Julie Sanders, Kate Chedgzoy and Susan Wiseman, pp. 93–113. New York: St. Martin’s Press-now Palgrave Macmillan, 1998.

_____. Women and Culture at the Courts of the Stuart Queens. New York: Palgrave Macmillan, 2003.

_____. Women on the Renaissance Stage: Anna of Denmark and Female Masquing in the Stuart Court, 1590-1619. Manchester: Manchester University Press, 2002.

McManus, Clare, and Lucy Munro. “Renaissance Women’s Performance and the Dramatic Canon: Theater History, Evidence, and Narratives” — a special issue. Shakespeare Bulletin 33, no. 1 (2015). https://muse.jhu.edu/issue/31613.

McMillin, Scott, and Sally-Beth MacLean. The Queen’s Men and Their Plays. Cambridge: Cambridge University Press, 1998.

Meagher, John C. “The Dance and the Masques of Ben Jonson.” Journal of the Warburg and Courtauld Institutes 25 (1962): 258-277.

Meskill, Lynn Sermin. “Exorcising the Gorgon of Terror: Jonson’s Masque of Queens.” English Literary History 72, no. 1 (Spring 2005): 181–207.

Mickel, Lesley. Ben Jonson’s Antimasques: a History of Growth and Decline. Aldershot, UK and Brookfield, VT: Ashgate, 1999.

_____. “Glorious Spangs and Rich Embroidery: Costume in The Masque of Blackness and Hymenaei.” Studies in the Literary Imagination 36, no. 2 (2003): 41–59.

Miller, Lynneth. “Divine Punishment or Disease? Medieval and Early Modern Approaches to the 1518 Strasbourg Dancing Plague.” Dance Research Journal 35, no. 2 (November 2017): 149-164.

_____. “‘Satan Danced in the Person of the Damsel’: Dance, Sacrilege, and Gender, 1280-1640.” PhD diss., Baylor University, 2018.

Mirabella, Bella. “‘In the Sight of All:’ Queen Elizabeth and the Dance of Diplomacy.” Early Theatre 15, no. 1 (2012): 65-89.

_____. “Stealing Center Stage: Female Mountebanks, Pseudoscience and Non-Professional Theater.” English Language Notes 47, no. 2 (2009): 35-47.

Monahin, Nona. “Prokofiev’s Romeo and Juliet: Some Consequences of the ‘Happy Ending’.” Borrowers and Lenders 10, no. 2 (2017). http://www.borrowers.uga.edu/783442/show.

_____. “Writing for Posterity: A Reassessment of Arbeau’s Orchésographie (1589).” In Congress on Research in Dance Conference Proceedings (13-16 November 2014), compiled by Helen Thomas, Rebekah Chappell, and Erin Donahue, pp. 125-135. Congress on Research in Dance, 2015.

________, and Christian Rogowski. “Text, Music, Dance: Conflicting Allegiances in Angelin Preljocaj’s Roméo et Juliette.” In Dance Studies Association Conference Proceedings (5-8 July 2018), compiled by Courtney Harris, pp. 66-77. Dance Studies Association, 2018.

Morgan, Jennifer M. “Death, War, Dance, and Discovery: The Representation of Percussion Instruments in Medieval and Early Modern French Literature.” PhD diss., University of Wisconsin at Madison, 2018.

Morris, Ann Pleiss. “The Queen’s Masques: Rethinking Jacobean Masques and an English Feminine Theater.” Philological Quarterly 97, no. 4 (2018): 467-480.

Mullally, Robert. “More about the Measures.” Early Music 22, no. 2 (1994): 414-438.

_____. “Measure as a Choreographic Term in the Stuart Masque.” Dance Research 16, no. 1 (Summer 1998): 67-73.

Mzezewa, Tariro. “What if Shakespeare’s Dark Lady Told Their Love Story? What if It Were a Ballet?” The New York Times, February 5, 2019. https://www.nytimes.com/2019/02/05/arts/dance/nashville-ballet-shakespeare-lucy-negro.html.

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Naylor, Edward W. Shakespeare and Music, with Illustrations from the Music of the 16th and 17th Centuries. London: J. M. Dent & Co., 1896.

Nevile, Jennifer. “Choreography and Meaning in Renaissance Danced Spectacles: A Catalyst for Discussion.” Historical Dance 4, no. 2 (2012): 29-33. https://historicaldance.org.uk/jnl/pdf/HistDance-2012-V4N2-pp29-33-Nevile.pdf.

_____. “Dance in Early Tudor England: An Italian Connection?” Early Music 26, no. 2 (1998): 230-234, 237-242, 244.

_____. “Decorum and Desire: Dance in Renaissance Europe and the Maturation of a Discipline.” Renaissance Quarterly 68, no. 2 (2015): 597-612.

_____. The Eloquent Body: Dance and Humanist Culture in Fifteenth-Century Italy. Bloomington: Indiana University Press, 2004.

_____. Footprints of the Dance: An Early Seventeenth-Century Dance Master’s Notebook. Leiden: Brill, 2018.

_____. “Learning the Bassadanza from a Wolf: Andrea Calmo and Dance.” Dance Research 30, no. 1 (2012): 80-97.

_____. “‘Rules for Design’: Beauty and Grace in Caroso’s Choreographies.” Dance Research 25, no. 2 (2007): 107-118. https://doi.org/10.3366/drs.2007.25.2.107.

_____, ed., Dance, Spectacle, and the Body Politick, 1250-1750. Bloomington, IN: Indiana University Press, 2008.

Norbrook, David. “‘The Masque of Truth’: Court Entertainments and International Protestant Politics in the Early Stuart Period.” The Seventeenth Century 1, no. 2 (July 1986): 81–110.

Normand, Lawrence. “Witches, King James, and The Masque of Queens.” Representing Women in Renaissance England, ed. Claude J. Summers and Ted-Larry Pebworth, pp. 107–20. Columbia: University of Missouri Press, 1997.

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Oh, Elisa. “‘In Motion Swift and Even’: Perpetual Motion and Othering in Ben Jonson’s The Masque of Blackness and The Masque of Beauty.” Upstart: A Journal of English Renaissance Studies, December 8, 2014. http://www.clemson.edu/upstart/Essays/oh_motion/oh_motion.xhtml.

Orgel, Stephen. The Illusion of Power: Political Theater in the English Renaissance. Berkeley, CA: University of California Press, 1975.

_____. “Jonson and the Amazons.” Soliciting Interpretation: Literary Theory and Seventeenth-Century English Poetry, ed. Elizabeth D. Harvey and Katharine Eisaman Maus, pp. 119–39. Chicago: University of Chicago Press, 1990.

_____. The Jonsonian Masque. Cambridge, MA: Harvard University Press, 1967.

Ortiz, Joseph M. Broken Harmony: Shakespeare and the Politics of Music. Ithaca: Cornell University Press, 2011.

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Palmer, Barbara D. “Court and Country: the Masque as Sociopolitical Subtext.” Medieval and Renaissance Drama in England: An Annual Gathering of Research, Criticism and Reviews 7 (1995): 338–54.

Parolin, Peter. “‘If I had begun to dance’: Women’s Performance in Kemps Nine Daies Wonder.” Early Theatre 15, no. 1 (2012): 45-63.

Parry, Caroline Balderston. “‘The Maypole is up, now give me the cup…’.” REED Newsletter 11, no. 1 (1986): 7-9.

Parry, Graham. “The Politics of the Jacobean Masque.” Theatre and Government under the Early Stuarts, ed. J. R. Mulryne and Margaret Shewring. Cambridge and New York: Cambridge University Press, 1993.

Parsons, Elinor. “An Inexplicable Dumbshow? Narrative Innovation in Robert Helpmann’s Hamlet (1942).” Australian Studies 4 (2012). Web archive copy.

_____. “‘Struts and frets’: Physical eloquence in Vladimir Vasiliev’s Macbeth.” In Shakespeare on Screen: Macbeth, edited by Sarah Hatchuel, Nathalie Vienne-Guerrin, and Victoria Bladen, pp. 365-378. Rouen: Publications de l’Université de Rouen et du Havre, 2013.

_____. “‘Therefore ha’ done with words’: Shakespeare and Innovative British Ballets. In The Oxford Handbook of Shakespeare and Dance, edited by Lynsey McCulloch and Brandon Shaw, pp. 387-404. Oxford University Press, 2019.

Payne, Ian. The Almain in Britain, c.1549-c.1675: A Dance Manual from Manuscript Sources. Aldershot, Hampshire: Ashgate, 2003.

Pennino- Baskerville, Mary. “Terpsichore Reviled: Antidance Tracts in Elizabethan England.” Sixteenth Century Journal 22, no. 3 (1991): 475-494.

Pfandl-Buchegger, Ingrid. “The Performing Body in Renaissance Literature and Dance.” Anglia Journal of English Philogy 132, no. 1 (2014): 23-39.

_____, and Gudrun Rottensteiner. “Metareferentiality in early dance: the Jacobean antimasque.” Metareference across Media: Theory and Case Studies, edited by Werner Wolf, pp. 469-498. Amsterdam: Rodopi, 2009.

Plank, Steven. “‘And Now about the Cauldron Sing’: Music and the Supernatural on the Restoration Stage.” Early Music 18, no. 3 (1990): 392-407.

Pollard, Tanya. Shakespeare’s Theater: A Sourcebook. Oxford: Blackwell Publishing, 2003.

Pontremoli, Alessandro, ed. “Virtue et arte del danzare”: Contributi di storia della danza in onore di Barbara Sparti. Rome: Aracne Editrice, 2011.

  • Arcangeli, Alessandro. “Renaissance Dance and Writing: the Case of Arcangelo Tuccaro,” pp. 39-48.
  • Harris-Warrick, Rebecca. “Naturalizing Novelty: Italian Opera as Parisian Audiences Saw It in 1729,” pp. 165-179.
  • Heller, Wendy. “Ermiona and the Ballo dei beozi (1636): A Padovan Legacy for Benetian Theatrical Dance,” pp. 115-131.
  • McGinnis, Katherine Tucker. “‘Face Time-Mask Time’: The Merging and Diverging of Public and Private Space in Sixteenth-Century Dance Practices,” pp. 83-97.
  • Note: Additional essays are in Italian.

Pugliese, Patri J. “Why Not Dolmetsch?” Dance Research 13, no. 2 (1981): 21-24.

Pugliese, Patri J., and Joseph Casazza. “Practise for Dauncinge,” 1980, 1999. http://mysite.verizon.net/vzeryeh4/dance/Practise%20for%20Dauncinge.html.

Prange, Gerda. “Shakespeares Äußerungen über die Tänze seiner Zeit.” Shakespeare Jahrbuch 89 (1953): 132-161.


Pyron, Mary Virginia. “‘Sundry Measures’: Dance in Renaissance Comedy.” PhD diss., Vanderbilt University, 1987.

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Ranum, Patricia. “Audible Rhetoric and Mute Rhetoric: The 17th-century French Sarabande.” Early Music 14, no. 1 (1986): 22-40.

Ravelhofer, Barbara. “Burlesque Ballet, a Ballad and a Banquet in Ben Jonson’s The Gypsies Metamorphos’d (1621).” Dance Research 25, no. 2 (2007): 144-155. https://doi.org/10.3366/drs.2007.25.2.144.

_____. “Dance.” Ben Jonson in Context, edited by Julie Sanders, pp. 171-180. Cambridge: Cambridge University Press, 2010.

_____.  “Dancing at the Court of Queen Elizabeth.” In Queen Elizabeth I: Past and Present, edited by Christa Jansohn, pp. 101-115. Münster: Lit Verlag, 2004.

_____. The Early Stuart Masque: Dance, Costume, and Music. Oxford: Oxford University Press, 2006.

_____.  “Middleton and dance.” The Oxford Handbook of Thomas Middleton, edited by G. Taylor and T. Henley, pp. 130-147. Oxford: Oxford University Press, 2012.

_____. “Queen Henrietta Maria’s Dramatic Activities.” In Heroines of the Golden Stage: Women and Drama in Spain and England, 1500-1700, edited by Rina Walthau and Marguérite Corporaal, pp. 129-142. Kassel: Reichenberger, 2007.

_____. “‘Virgin Wax’ and ‘Hairy Men-Monsters’: Unstable Movement Codes in the Stuart Masque.” In The Politics of the Stuart Court Masque, edited by David Bevington and Peter Holbrook, pp. 244-272. Cambridge: Cambridge University Press, 1998.

Rebhorn, Wayne A. Courtly Performances: Masking and Festivity in Castiglione’s Book of the Courtier. Detroit: Wayne State University Press, 1978.

Reiter, Susan. “A Street Smart ‘Romeo + Juliet.” Review of New York City Ballet’s “Romeo + Juliet.”  DanceviewTimes 5, no. 18 (2007). http://archives.danceviewtimes.com/2007/Spring/06/nycb6.html.

Rinehart, Lisa. “Get Real.” Review of Mark Morris Dance Group’s “Romeo & Juliet, On Motifs of Shakespeare.”  DanceviewTimes, May 21, 2009. http://www.danceviewtimes.com/2009/05/get-real.html.

Robertson, Karen. “Pocahontas at the Masque.” Signs: Journal of Women in Culture & Society 21, no. 3 (1996): 551–83.

Rodgers, Amy J. “Creation Myths: Inspiration, Collaboration, and the Genesis of Romeo and Juliet.” Borrowers and Lenders 10, no. 2 (2017). http://www.borrowers.uga.edu/783458/show.

_____. A Monster with a Thousand Hands: The Discursive Spectator in Early Modern England. Philadelphia: University of Pennsylvania Press, 2018. (BookFinder)

Rygg, Kristin. Masqued Mysteries Unmasked: Early Modern Music Theater and its Pythagorean Subtext. Hillsdale, NY : Pendragon Press, 2000.

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Salmen, Walter. “Dances and Dance Music, c. 1300–1530.” In New Oxford History of Music, vol. 3.1, edited by Reinhard Strohm and Bonnie J. Blackburn, 162-190. Oxford: Oxford University Press, 2001.

Savage, Roger. “Rameau’s American Dancers.” Early Music 11, no. 4 (1983): 441-452.

Schoch, Richard W. “(Im)pressing Texts and Spectacular Performance: the Quarrel between Ben Jonson and Inigo Jones.” Constructions 9 (1994): 1–12.

Schwarz, Kathryn. “Amazon Reflections in the Jacobean Queen’s Masque.” Studies in English Literature 35, no. 2 (1995): 293–309.

Scolieri, Paul A. Dancing the New World: Aztecs, Spaniards, and the Choreography of Conquest. Austin: University of Texas Press, 2013.

Semenza, Gregory M. Colón. Sport, Politics, and Literature in the English Renaissance. Newark, DE: University of Delaware Press, 2003.

Semmens, Richard. “A Sorcerer’s Apprentice? John Weaver’s Comic Muse.” In Congress on Research in Dance Conference Proceedings (13-16 November 2014), compiled by Helen Thomas, Rebekah Chappell, and Erin Donahue, pp. 160-167. Congress on Research in Dance, 2015.

Shaw, Brandon. “Effacing Rebellion and Righting the Slanted: Declassifying the Archive of MacMillan’s (1965) and Shakespeare’s (1597) Romeo and Juliets.” Dance Research Journal 49, no. 2 (2017). https://doi.org/10.1017/S0149767717000201.

Shaw, Catherine M. “The Tempest and Hymenaei.” Cahiers Elisabéthains 26 (1984): 29–39.

Shewring, Margaret, and J. R. Mulryne. “Dancing Towards Death: Masques and Entertainments in London and Florence as precedents for Thomas Middleton’s Women Beware Women.” Dance Research 25, no. 2 (2007): 134-143. https://doi.org/10.3366/drs.2007.25.2.134.

Siddiqi, Yumna. “Dark Incontinents: the Discourse of Race and Gender in Three Renaissance Masques.” Renaissance Drama 23 (1992): 139–63.

Smith, Irwin. “Ariel and the Masque in The Tempest.” Shakespeare Quarterly 21 (1970): 213–23.

Smith, Judy. “The Art of Good Dancing—Noble Birth and Skilled Nonchalance. England 1580-1630.” Historical Dance 2, no. 5 (1986/7): 30-32.

Smith, Judy, and Ian Gatiss. “What Did Prince Henry Do with His Feet on Sunday 19 August 1604?” Early Music 14, no. 2 (1986): 198-207.

Smith, William Michael. “Aftermath: Dominic Walsh Dance Theater’s Titus Andronicus, with Two Star Symphony, at Hobby Center’s Zilkha Theater” Houston Press, Oct. 17, 2008. www.houstonpress.com/music/aftermath-dominic-walsh-dance-theaters-titus-andronicus-with-two-star-symphony-at-hobby-centers-zilkha-theater-6530964.

Sorell, Walter. “Shakespeare and the Dance.” Shakespeare Quarterly 8, no. 3 (1957): 367-384.

Sparti, Barbara. “Antiquity as Inspiration in the Renaissance of Dance: The Classical Connection and Fifteenth-Century Italian Dance.” Dance Chronicle 16, no. 3 (1993): 373-390.

_____. “‘Artistic’ Theory of Dance in Fifteenth-Century Italy.” Yearbook for Traditional Music 35 (2003): 183-185.

_____. “Breaking Down Barriers in the Study of Renaissance and Baroque Dance.” Dance Chronicle 19, no. 3 (1996): 255-276.

_____. Dance, Dancers, and Dance-masters in Renaissance and Baroque Italy. Bologna: Massimiliano Piretti Editore, 2015.

_____. “The 15th-century balli Tunes: A New Look.” Early Music 14, no. 3 (1986): 346-357.

_____. “What Can Pictures Tell Us (and Not Tell Us) about Dance? Reading Italian Renaissance Iconography.” In Proceedings of the 20th Society of Dance History Scholars Annual Conference (19-22 June 1997). Riverside, CA: Society of Dance History Scholars, 1997.

Sponsler, Claire. “Writing the Unwritten: Morris Dance and Theatre History.” In Representing the Past: Essays in Performance History, eds. Charlotte M. Canning and Thomas Postlewait, 84-113. Iowa City: University of Iowa Press, 2010.

Steele, M. S. Plays & Masques at Court during the Reigns of Elizabeth, James and Charles. New York: Russell & Russell, 1926, 1968.

Stevens, Andrea. “Mastering Masques of Blackness: Jonson’s Masque of Blackness, The Windsor text of The Gypsies Metamorphosed, and Brome’s The English Moor.” English Literary Renaissance 39, no. 2 (2009): 396-426.

Stokes, James. “The Ongoing Exploration of Women and Performance in Early Modern England: Evidences, Issues, and Questions.” Shakespeare Bulletin 33, no. 1 (2015): 9-31.

Stokes, James, and Ingrid Brainard. “‘The olde Measures’ in the West Country: John Willoughby’s manuscript.” Records of Early English Drama Newsletter 17, no. 2 (1992): 1-10.

Streitberger, W. R. The Masters of the Revels and Elizabeth I’s Court Theatre. Oxford: Oxford University Press, 2016.

Strong, Roy. Splendor at Court: Renaissance Spectacle and the Theater of Power. Boston: Houghton Mifflin, 1973.

Sutton, Julia. “Cadential Formulae in Music and Dance in Sixteenth-Century Italy.” In Proceedings of the 20th Society of Dance History Scholars Annual Conference (19-22 June 1997). Riverside, CA: Society of Dance History Scholars, 1997.

_____.  “Dance: Late Renaissance and Baroque to 1730: (i) Before 1630.” In Grove Music Online, edited by Deane L. Root, 2014.

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Temple, Michele. The Middle Eastern Influence on Late Medieval Italian Dances: Origins of the 29987 Istampittas. Lewiston, NY: Edwin Mellen Press, 2001.

Terry, Esther. “Belonging While Black: A Choreography of Imagined Silence in Early Modern African Diasporic Dance.” PhD diss., University of Pittsburgh, 2016.

Thiel, Sara B. T. “‘Cushion Come Forth’: Materializing Pregnancy on the Stuart Stage.” In Stage Matters: Props, Bodies, and Space in Shakespearean Performance, eds. Annalisa Castaldo and Rhonda Knight, 143-158. Madison, NJ: Fairleigh Dickinson University Press, 2018.

_____. “Performing Blackface Pregnancy at the Stuart Court: The Masque of Blackness and Love’s Mistress, or the Queen’s Masque,” Renaissance Drama 45, no. 2 (2017): 211-236.

Thierry, Demaubus. “Ritual, Ostension and the Divine in the Stuart Masque.” Literature and Theology 17, no. 3 (2003): 298–313.

Thomas, Max W. “Kemps Nine Daies Wonder: Dancing Carnival into Market.” PMLA 107, no. 3 (1992): 511-523.

Thomson, Peter, and Roger Clegg. “He’s for a jig or a tale of bawdry—’: Notes on the English Dramatic Jig.” Studies in Theatre and Performance 29, no. 1 (2009): 67-83.

Todd, Margo. “Profane Pastimes and the Reformed Community: The Persistence of Popular Festivities in Early Modern Scotland.” The Journal of British Studies 39, no. 2 (2000): 123-156.

Traiger, Lisa. “Washington Ballet’s 7×7: Shakespeare.” DanceviewTimes 5, no. 18 (2007).  http://danceviewtimes.com/2007/Spring/06/7×7.html.

Twycross, Meg, and Sarah Carpenter. Masks and Masking in Medieval and Early Tudor England. Burlington, VT: Ashgate, 2002.

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Underdown, David. “‘But the Shows of their Street’: Civic Pageantry and Charivari in a Somerset Town, 1607.” Journal of British Studies 50, no. 1 (2011): 4-23.

_____. Revel, Riot, and Rebellion: Popular Politics and Culture in England 1603-1660. Oxford: Clarendon Press, 1985.

van der Leeuw, Tracy Lee. “Dancing Queen, Elizabeth I and Anna of Denmark: Dance, Masques, and the Queen’s Role.” PhD diss., University of Minnesota, 2003.

van Orden, Kate. Music, Discipline, and Arms in Early Modern France. Chicago: University of Chicago Press, 2005.

Vittes, Laurence. “Titus Redux: Theater Review.” The Hollywood Reporter, Oct. 14, 2010. www.hollywoodreporter.com/review/titus-redux-theater-review-29916.

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Wagner, Ann. Adversaries of Dance: From the Puritans to the Present. Urbana, IL: University of Illinois Press, 1997.

Walkling, Andrew. “The Masque of Actaeon and the Antimasque of Mercury: Dance, Dramatic Structure, and Tragic Exposition in Dido and Aeneas.” Journal of the American Musicological Society 63, no. 2 (2010): 191-242.

Walls, Peter. Music in the English Courtly Masque 1604-1640. Oxford: Clarendon Press, 1996.

Ward, John. “Apropos ‘The olde Measures.’” Records of Early English Drama Newsletter 18, no. 1 (1993): 2-21.

_____. “The Manner of Dauncying.” Early Music 4 (1976): 127-142.

Waxman, Donald, ed., with Wendy Hilton. A Dance Pageant: Renaissance and Baroque Keyboard Dances. Boston: Galaxy Music Corporation (E. C. Schirmer), 1992. (This is a music collection with notes and commentary on the dance types.)

Weddle-Mulholland, Katona Dail. “A study of the metaphorical language of Renaissance dance in four of Shakespeare’s comedies: Love’s Labor’s Lost, A Midsummer Night’s Dream, Much Ado About Nothing, and The Tempest.” PhD diss., Central Missouri State University, 1999.

Welsford, Enid. The Court Masque: A Study in the Relationship between Poetry & the Revels. Cambridge: Russell & Russell, 1962.

_____. “Italian Influence on the English Court Masque.” The Modern Language Review 100, Supplement (2005): 75-90.

West, Russell. “Perplexive Perspectives: the Court and Contestation in the Jacobean Masque.” Seventeenth Century 18, no. 1 (2003): 25–43.

West, William. “When is the Jig Up—and What is it Up To?” In Locating the Queen’s Men, 1583-1603: Material Practices and Conditions of Playing. Edited by Helen Ostovich, Holger Schott Syme, Andrew Griffin. Farnham, Surrey: Ashgate, 2009.

Wetmore, Kevin J., Jr. “Review of Titus Redux; Hamlet, Prince of Darkness; and Pulp Shakespeare.” Shakespeare Bulletin 30, no. 2 (2012): 207-212.

Wickham, Glynne. “Masque and Anti-masque in The Tempest.” Essays and Studies 28 (1975): 1–14.

Wienpahl, Robert. Music at the Inns of Court during the Reigns of Elizabeth, James, and Charles. Ann Arbor, MI: University Microfilms International for the Department of Music, California State University, Northridge, 1979.

Wharton, Robin. “‘There Are No Mothers-in-Law in Ballet’: ‘Doing’ Shakespeare in dance.” Shakespeare Bulletin 23 (2005): 7-22.

Whitlock, Keith. “John Playford’s the English Dancing Master 1650/51 as Cultural Politics.” Folk Music Journal 7, no. 5 (1999): 548-578.

Whitta, James. “Performing the Medieval Masculine Subject Through Grace.” In Dance Studies Association Conference Proceedings (5-8 July 2018), compiled by Courtney Harris, pp. 193-210. Dance Studies Association, 2018.

Williams, Seth Stewart. “Virtual Motion: Dance and Mobility in Early Modern English Literature.” PhD diss., Columbia University, 2017.

Wilson, David R. “Dancing in the Inns of Court.” Historical Dance 2, no. 5 (1986-1987): 3-16.

_____. “The Old Measures and the Inns of Court: A Note.” Historical Dance 3, no. 3 (1994): 24.

Winerock, Emily F. “Churchyard capers: the controversial use of church space for dancing in early modern England.” In The Sacralization of Space and Behavior in the Early Modern World: Studies and Sources, edited by Jennifer Mara DeSilva, pp. 233-256. Farnham: Ashgate, 2015.

_____. “Competitive Capers: Gender, Gentility, and Dancing in Early Modern England.” In The Oxford Handbook of Dance and Competition, edited by Sherril Dodd, pp. 66-86. Oxford University Press, 2018.

_____. “Discourteous Courtesies and Irreverent Reverences: Rethinking the Renaissance Bow.” In Dance Studies Association Conference Proceedings (5-8 July 2018), compiled by Courtney Harris, pp. 211-219. Dance Studies Association, 2018.

_____. “‘Performing’ Gender and Status on the Dance Floor in Early Modern England.” In Worth and Repute: Valuing Gender in Late Medieval and Early Modern Europe (Essays in Honour of Barbara Todd), edited by Kim Kippen and Lori Woods, pp. 449-472. Toronto: Centre for Reformation and Renaissance Studies, 2011.

_____. “Reformation and Revelry: The Practices and Politics of Dancing in Early Modern England, c.1550-c.1640.“ PhD diss., University of Toronto, 2012.

_____. “Staging Dance in English Renaissance Drama.” In Proceedings of the 34th Society of Dance History Scholars Annual Conference (23-26 June 2011), compiled by Ken Pierce. Riverside, CA: Society of Dance History Scholars, 2011.

_____. “‘We’ll measure them a measure, and be gone’: Renaissance Dance Practices and Shakespeare’s Romeo and Juliet.” Borrowers and Lenders 10, no. 2 (2017).   http://www.borrowers.uga.edu/783478/show.

_____. “‘What dances shall we have?’ Assembling the Evidence of Non-Courtly Dancing in Shakespearean England.” In Dance Studies Association Conference Proceedings (19-22 October 2017), compiled by Jens Giersdorf and Kayla White, pp. 103-113. Dance Studies Association, 2017.

Witchel, Leigh. “Shakespeare and Surprises.” Review of American Ballet Theatre’s “The Dream” and “The Tempest.” DanceviewTimes, July 31, 2014. http://www.danceviewtimes.com/2014/07/shakespeare-and-surprises.html.

_____. “Young lovers right the ship in ABT’s stormy Tempest. New York Post, October 31, 2013. http://nypost.com/2013/10/31/young-lovers-right-the-ship-in-abts-stormy-tempest.

Wood, Melusine. “Some Notes on the English Country Dance before Playford.” Journal of the English Folk Dance and Song Society 3, no. 2 (1937): 93-99.

Wooding, Barbara. John Lowin and the English Theatre, 1603–1647: Acting and Cultural Politics on the Jacobean and Caroline Stage. Farnham: Ashgate, 2013.

Wynne-Davies, Marion. “The Queen’s Masque: Renaissance Women and the Seventeenth-Century Court Masque.” Gloriana’s Face: Women, Public and Private, in the English Renaissance, ed. S. P. Cerasano and Marion Wynne-Davies, pp. 79–104. Detroit: Wayne State University Press, 1992.

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Yamada, Yumiko. “The Masque of Queens: Between Sight and Sound.” Hot Questrists after the English Renaissance: Essays on Shakespeare and His Contemporaries, ed. Yasunari Takahashi, pp. 255–67. New York: AMS, 2000.


Primary Sources | Secondary Sources
Thematic Bibliographies


Updated September 20, 2020.