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_____. “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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_______. “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).
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_______. “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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_____. The Stations of the Sun: A History of the Ritual Year in Britain. Oxford: Oxford University Press, 1996.
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_____. Ten Dances from Sixteenth-Century Italy. Wiltham, Essex: Companie of Dansers, 1983.
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_______. “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.
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_______. “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.
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_____. Dramaturgies of Love in Romeo and Juliet: Word, Music, and Dance. New York: Routledge, 2021.
_____. “‘Like an old tale’: The Winter’s Tale on the Balletic Stage.” 162-179.
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_____. “Rhythm, Meter, and ‘Tactus’ in 16th-Century Italian Court Dance: Reconstruction from a Theoretical Base.” Dance Research 8, no. 1 (1990): 3-27.
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_____. “Translating Shakespearean Plays: Dance as Rhetorical Device.” Tennessee Philological Bulletin Vol LIII (2016): 42-62.
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_____. “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.
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________. “The Concord of This Discord: Adapting the Late Romances for the Ballet Stage.” Borrowers and Lenders 10, no. 2 (2017). https://openjournals.libs.uga.edu/borrowers/article/view/2423/2514.
________. “Dancing tragedy: José Limón’s adaptations of Shakespeare.” Shakespeare 11, no. 1 (2015): 58-81.
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________. “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.
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_____. “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.
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_____. “‘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.
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_____. “The Masque of Stuart Culture.” The Mental World of the Jacobean Court, ed. Linda Levy Peck, pp. 209–29. Cambridge: Cambridge University Press, 1991.
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_____. “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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________. “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.
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________. “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.
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_____. “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.
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_____. “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.
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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.
_____. “Wondrous Motion: Recovering Dance from The Tempest.” Shakespeare Jahrbuch 157 (2021): 13-30.
_____, and Brandon Shaw, eds. The Oxford Handbook of Shakespeare and Dance. Oxford: Oxford UP, 2019.
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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.
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________. “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.
_____. “Movement, Music and Silence in Cheek by Jowl’s Measure for Measure, The Winter’s Tale and Périclès, Prince de Tyr.” Shakespeare Jahrbuch 157 (2021): 141-161.
_____. The Voice of Elizabethan Stage Directions: The Evolution of a Theatrical Code. Newark, DE: University of Delaware Press, 1999.
________, and Emily F. Winerock. “Dancing on Her Grave: Shakespeare’s Tragic Heroines on Film.” Dance Chronicle 39, no. 2 (2016): 56-76.
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_____. 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.
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_____. “Glorious Spangs and Rich Embroidery: Costume in The Masque of Blackness and Hymenaei.” Studies in the Literary Imagination 36, no. 2 (2003): 41–59.
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_____. “‘Satan Danced in the Person of the Damsel’: Dance, Sacrilege, and Gender, 1280-1640.” PhD diss., Baylor University, 2018.
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_____. “Stealing Center Stage: Female Mountebanks, Pseudoscience and Non-Professional Theater.” English Language Notes 47, no. 2 (2009): 35-47.
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_____. “Measure as a Choreographic Term in the Stuart Masque.” Dance Research 16, no. 1 (Summer 1998): 67-73.
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_____. “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.
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_____, 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.
Packard, Rachel. “Dancing Along the Tightrope of Leisure: Puritans and Dance in Seventeenth-Century Massachusetts.” MA thesis, University of New Mexico, 2012.
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.
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.
_____. “Shakespeare and Dance.” Shakespeare Jahrbuch 157 (2021): 13-30.
_____. “‘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.
Reid, Lindsay Ann. “The (lost) tune of ‘Raging Love’ and its reverberations in Isabella Whitney’s Copy of a Letter.” Cahiers Élisabéthains: A Journal of English Renaissance Studies 102, no. 1 (2020): 103-120.
Reimers, Sara, and Richard Schoch. “Performing Restoration Shakespeare Today : Staging Davenant’s Macbeth.” Shakespeare Bulletin 37, no. 4 (2019): 467-489.
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): 551–583.
Rodgers, Amy J. “Creation Myths: Inspiration, Collaboration, and the Genesis of Romeo and Juliet.” Borrowers and Lenders 10, no. 2 (2017). https://openjournals.libs.uga.edu/borrowers/article/view/2417/2502.
_____. 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.
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.
Smid, Deanna. “Spoken song and imagined music in Cymbeline.” Cahiers Élisabéthains: A Journal of English Renaissance Studies 102, no. 1 (2020): 87-102.
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.
Sokolova, Alla V. “The Court Culture in France, Italy and England in 16-17th Centuries: Interaction and Mutual Influence.” Tarih Kültür ve Sanat Araştırmaları Dergisi (Journal of History Culture and Art Research) 9, no. 4 (2020): 134-145.
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.
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.
Thorp, Jennifer, and Michael Burden, eds. Ballet de la Nuit. Hillsdale, NY: Pendragon Press, 2010.
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.
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.
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.
Wilson, Richard. “Dance of Death: Hitler and the Morris Men.” Shakespeare Jahrbuch 157 (2021): 85-109.
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.
_____. “Licence to Speak: Gender and Masking in Shakespearean Dance Scenes.” Shakespeare Jahrbuch 157 (2021): 46-64.
_____. “‘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). https://openjournals.libs.uga.edu/borrowers/article/view/2416/2500.
_____. “‘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.
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 January 13, 2022.