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_____. “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.
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_____. “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.
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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.
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_____. “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).
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_____. The Shakespearean Playing Companies. Oxford: Clarendon Press, 1996.
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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. http://journals.sagepub.com/doi/pdf/10.1177/0184767818788087.
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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.
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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.
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le Huray, Peter. Music and the Reformation in England, 1549-1660. Cambridge: Cambridge University Press, 1967.
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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.
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.
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_______. “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.
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.
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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.
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.
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.
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.
_____. 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.
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.
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.
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.
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. “‘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.
Pollard, Tanya. Shakespeare’s Theater: A Sourcebook. Oxford: Blackwell Publishing, 2003.
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- 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.
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.
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_____. A Monster with a Thousand Hands: The Discursive Spectator in Early Modern England. Philadelphia: University of Pennsylvania Press, 2018. (BookFinder)
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_____. “‘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.
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_____. “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.
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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.
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.
Updated March 25, 2020.