Comprehensive Bibliography


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.

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.

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.

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.

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.

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.

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

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.



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

Anglo, Sydney. “The Barriers: From Combat to Dance (Almost).” Dance Research 25, no. 2 (2007): 91-106.

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.

Atwood, Emma. “Scotch Jig or Rope Dance? Choreographic Dramaturgy and Much Ado About Nothing.” Borrowers and Lenders 10, no. 2 (2017).

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.

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

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

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.

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.

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).

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.

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

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

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

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

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

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.

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.

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

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

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

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

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.

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.

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.

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

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

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.

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).

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.

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

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

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.

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.

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

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

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.

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.

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

_____.“‘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.

_____. “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.

_____. “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).

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

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

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.

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. “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.

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

_______. “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.

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.

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.

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.

_______. “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.

_______. “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.

_______. “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.

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.

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. [pre-order from Routledge]

________. “The Concord of This Discord: Adapting the Late Romances for the Ballet Stage.” Borrowers and Lenders 10, no. 2 (2017).

________. “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).

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.

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.”

________. “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.

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

Marcus, Leah. 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.

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.

_____. “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).

_____. 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, 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).

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

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).

_____. “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.

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. “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.

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

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

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

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

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.

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.

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

Ravelhofer, Barbara. “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.

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

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

Rodgers, Amy J. “Creation Myths: Inspiration, Collaboration, and the Genesis of Romeo and Juliet.” Borrowers and Lenders 10, no. 2 (2017).

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

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.

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).

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

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.

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

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

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.

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.

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.

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

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

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.

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.

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.

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).

_____. “‘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.

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.


Updated January 21, 2020.