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7AACM320 ATTACKING THE THEATRE In The European Theatrical Tradition
INDICATIVE BIBLIOGRAPHIES (excluding primary sources).
Weeks 1-2
K. Bassi, “Male Nudity and Disguise in the Discourse of Greek Histrionics” Helios 22 (1995) 3-22
K. Bassi, Acting Like Men: Gender, Drama and Nostalgia in Ancient Greece (Ann Arbor, Michigan
1998)
R. Blondell, The Play of Character in Plato's Dialogues (Cambridge 2002)
E. Bobrick, “The Tyranny of Roles: Playacting and Privilege in Aristophanes' Thesmophoriazusae”,
in G. W. Dobrov (ed) The City as Comedy: Society and Representation in Athenian Drama (Chapel
Hill and London 1997)
E. Csapo, and W.J. Slater The Context of Ancient Drama (Ann Arbor 1995)
M. Damen, M. “Actor and Character in Greek Tragedy”, Theatre Journal 41 (1989( 316-40.
A. Duncan, “Agathon, Essentialism, and Gender Subversion in Aristophanes' Thesmophoriazusae”,
European Studies Journal 17 and 18 (2000-01) 25-40
A. Duncan, “Gendered Interpretations: Two Fourth-Century Performances of Sophocles' Electra”,
Helios 32.1 (2005)
A. Duncan, Performance and Identity in the Classical World (Cambridge 2006)
P. E. Easterling, “Actors and Voices: Reading between the Lines in Aeschines and Demosthenes”,
in S. Goldhill and R. Osborne (eds) Performance Culture and Athenian Democracy (Cambridge
1999) 154-66
P. E. Easterling, “Form and Performance”, in Easterling (ed), The Cambridge Companion to Greek
Tragedy (Cambridge 2002) 151-77
P. E. Easterling, “From Repertoire to Canon”, in Easterling (ed), The Cambridge Companion to
Greek Tragedy (Cambridge 2002) 211-27
T. Falkner, “ Scholars versus Actors: Text and Performance in the Greek Tragic Scholia”, in P. E.
Easterling and E. Hall (eds), Greek and Roman Actors: Aspects of an Ancient Profession
(Cambridge 2002) 342-61.
T. Falkner, “ Containing Tragedy: Rhetoric and Self-Representation in Sophocles’ Philoctetes”,
Classical Antiquity 17.1 (1998) 25-58.
E. Hall, The Theatrical Cast of Athens: Interactions between Ancient Greek Drama and Society
(Oxford 2006)
S. Halliwell, The Aesthetics of Mimesis: Ancient Texts and Modern Problems (Princeton, NJ 2002),
Chapters 1-4
I. Lada-Richards, “‘Estrangement’ or “Reincarnation’? Performers and Performance on the
Classical Athenian Stage”, Arion 5 (1997) 66-107
I. Lada-Richards, “Staging the Ephebeia: Theatrical Role-Playing and Ritual Transition in
Sophocles' Philoctetes”, Ramus 27.1 (1998) 1-26
I. Lada-Richards, “The Subjectivity of Greek Performance”, in E. Hall and P.E. Easterling (eds),
Greek and Roman Actors: Aspects of an Ancient Profession (Cambridge 2002) 395-418
I. Lada-Richards, “‘Within the Compass of a Lye ...’: Signs of Anti-theatricality on the Greek
Stage?”, in E. Theodorakopoulos (ed), Attitudes to Theatre from Plato to Milton (Bari 2003) 21-56
I. Lada-Richards, “Greek Tragedy and Western Perceptions of Actors and Acting”, in J. Gregory
(ed), The Blackwell Companion to Greek Tragedy (Oxford 2005) 459-71
I. Lada-Richards, “‘The Players Will Tell All’: The Dramatist, the Actors and the Art of Acting in
Sophocles' Philoctetes”, in S. Goldhill and E. Hall (eds), Sophocles and the Greek Tragic Tradition
(Cambridge 2009) 48-68
P. Murray, Plato on Poetry (Cambridge 1996)
A. Nehamas, “Plato on Imitation and Poetry in Republic 10”, in J. Moravcsik and P. Temko (eds),
Plato on Beauty, Wisdom and the Arts (1982)
A. Nehamas, Virtues of Authenticity: Essays on Plato and Socrates (Princeton, NJ 1999)
M. Ringer, Electra and the Empty Urn: Metatheater and Role Playing in Sophocles (Chapel Hill
and London 1998)
N. Slater, “The Idea of the Actor” , in J. J. Winkler and F. I. Zeitlin, Nothing to Do with Dionysos?
Athenian Drama in its Social Context (Princeton 1990) 385-95
N. Slater, Spectator Politics: Metatheatre and Performance in Aristophanes (Philadelphia 2002)
E. Stehle, “The Male Body in Aristophanes' Thesmophoriazusae: Where does the Costume End”,
Americal Journal of Philology 123.3 (2002) 369-406
S. M. Weineck, “Talking about Homer: Poetic Madness, Philosophy, and the Birth of Criticism in
Plato's Ion”, Arethusa 31 (1998) 19-42
D. Wiles, Tragedy in Athens: Performance Space and Theatrical Meaning (Cambridge 1997)
D, Wiles, Greek Theatre in Performance: An Introduction (Cambridge 2000), esp. Ch. 6: “The
performer”
WEEK 3:
C. A. Barton, The Sorrows of the Ancient Romans: The Gladiator and the Monster (Princeton 1993)
R. C. Beacham, Spectacle Entertainments of Early Imperial Rome (New Haven 1999)
P. G. Brown, “Actors and Actor-Managers at Rome in the Time of Plautus and Terence”, in P. E.
Easterling and E. Hall (eds), Greek and Roman Actors: Aspects of an Ancient Profession
(Cambridge 2002) 225-37
A. Duncan, “Infamous Performers: Female Prostitutes and Actors at Rome”, in C. A. Faraone and
L.McClure (eds), Prostitutes and Courtesans in the Ancient World (Madison, Wisconsin 2005)
C. Edwards, The Politics of Immorality in Ancient Rome (Cambridge 1993)
C. Edwards, “Beware of Imitations: Theatre and the Subversion of Imperial Identity”, in J. Elsner
and J. Masters (eds), Reflections of Nero: Culture, History and Representation (Chapel Hilland
London 1994)
C. Edwards, “Unspeakable Professions: Public Performance and Prostitution in Ancient Rome”, in
J. P. Hallett and M. B. Skinner (eds), Roman Sexualities (Princeton 1997) 66-95
E. Fantham, “Orator and /et Actor”, in P. E. Easterling and E. Hall (eds), Greek and Roman Actors:
Aspects of an Ancient Profession (Cambridge 2002) 362-76
E. R. Gebhard, “The Theater and the City”, in W. J. Slater (ed) Roman Theater and Society (Ann
Arbor 1996) 113-27
M. R. Jones, “The Performer's Curious Power: Theater and Anxiety in Ancient Rome”, in E.
Tylawsky and C. Weiss (eds), Essays in Honour of Gordon Williams. 25 Years at Yale (New Haven
2001) 129-45
I. Lada-Richards, “Authorial Voice and Theatrical Self-Definition in Terence and Beyond: The
Hecyra Prologues in Ancient and Modern Contexts”, Greece and Rome 51 (2004) 55-82
T. J. Moore, The Theatre of Plautus: Playing to the Audience (Austin, Texas 1998)
F. Muecke, ‘Plautus and the Theatre of Disguise’, Classical Antiquity 5 (1986) 216-29
A. Sharrock, Reading Roman Comedy: Poetics and Playfulness in Plautus and Terence (Cambridge
2009)
N. W. Slater, Plautus in Performance. The Theatre of the Mind (Princeton 1985)
WEEK 4:
T. D. Barnes, ‘Christians and the Theatre”, in W. S. Slater (ed) Roman Theater and Society (Ann
Arbor 1996) 161-80
J. Connolly, “Mastering Corruption: Constructions of Identity in Roman Oratory”, in S. R. Joshel
and S. Murnaghan (eds), Women and Slaves in Greco Roman Culture: Differential Equations
(London and N. York 1998) 130-51.
D. Dox, The Idea of the Theater in Latin Christian Thought (Ann Arbor 2004)
P. E. Easterling and R. Miles, “Dramatic Identities: Tragedy in Late Antiquity”, in R. Miles (ed),
Constructing Identities in Late Antiquity (London and N.York 1999) 95-111
E. Gunderson, “Discovering the Body in Roman Oratory”, in M. Wyke (ed), Parchments of
Gender: Deciphering the Bodies of Antiquity (Oxford 1998) 169-89
E. Gunderson, Staging Masculinity: The Rhetoric of Performance in the Roman World (Ann Arbor
2000)
I. Lada-Richards, “‘A Worthless Feminine Thing’? Lucian and the ‘Optic Intoxication’ of
Pantomime Dancing”, Helios 30.1 (2003) 21-75
I. Lada-Richards, “Becoming Mad On Stage: Lucian on the Perils of Acting and Spectating”,
Bulletin of the Institute of Classical Studies 49 (2006) 155-74
I. Lada-Richards, Silent Eloquence: Lucian and Pantomime Dancing (London 2007)
I. Lada-Richards, “Was Pantomime ‘Good to Think With’ in the Ancient World?”, in E. Hall and R.
Wyles (eds), New Directions in Ancient Pantomime (Oxford 2008) 285-313
B. Leyerle, Theatrical Shows and Ascetic Lives. John Chrysostom's Attack on Spiritual Marriage
(Berkeley 2001)
R. Lim, “Consensus and Dissensus on Public Spectacles in Early Byzantium”, Byzantinische
Forschungen 24 (1997)
R. Lim, “Converting the Un-Christianizable: The Baptism of Stage Performers in Late Antiquity”,
in K. Mills and A. Grafton (eds), Conversion in Late Antiquity and the Early Middle Ages: Seeing
and Believing (Rochester, NY 2003) 84-126
D. S. Potter, “Martyrdom as Spectacle”, in R. Scodel (ed), Theater and Society in the Classical
World (Ann Arbor 1993)
A. Richlin “Gender and Rhetoric: Producing Manhood in the Schools”, in W. J. Dominik (ed)
Roman Eloquence: Rhetoric in Society and Literature (London and N. York 1997) 90-110
C.C.Schnusenberg, The Relationship between the Church and the Theatre: Exemplified by Selected
Writings of the Christian Fathers (Lanham MD 1987)
B.D.Shaw, “Body/Power/Identity: Passions of the Martyrs”, in Journal of Early Christian Studies
4.3 (1996) 269-312
R. Webb, “Salome's Sisters: The Rhetoric and Realities of Dance in Late Antiquity”, in L. James
(ed), Women, Men and Eunuchs: Gender in Byzantium (London and New York 1997) 119-48
R. Webb, “Female Entertainers in Late Antiquity”, in P. E. Easterling and E. Hall (eds), Greek and
Roman Actors: Aspects of an Ancient Profession (Cambridge 2002) 282-303
R. Webb, Demons and Dancers: Performance in Late Antiquity (Cambridge, MA and London
2008)
*NB. I will translate myself Byzantine source material where there is no (or no easily accessible)
English translation
WEEKS 5 and 6:
G. E. Bentley, The Professions of Dramatist and Player in Shakespeare's Time, 1590-1642
(Princeton, NJ 1986)
M. Butler, Theatre and Crisis 1632-1642 (Cambridge 1984)
J. Crewe, “The Theatre of the Idols: Marlowe, Rankins and Theatrical Images”, Theatre Journal
36.3 (1984) 321-33
A. B. Dawson and P. Yachnin, The Culture of Playgoing in Shakespeare's England: A
Collaborative Debate (Cambridge 2001)
H. Diehl, Staging Reform, Reforming the Stage: Protestantism and Popular Theater in Early
Modern England (Ithaca and London 1997)
R. Dutton, Mastering the Revels: The Regulation and Censorship of English Renaissance Drama
(Iowa City 1992)
R. Dutton, “Censorship”, in J. D. Cox and D. Scott Kastan (eds), A New History of Early English
Drama (New York 1997) 287-304
R. Dutton, Licensing, Censorship and Authorship in Early Modern England: Buggeswords
(London 2000)
K. Eisaman Maus, Inwardness and Theater in the English Renaissance (Chicago 1995)
B. Freedman, “Elizabethan Protest, Plague, and Plays: Rereading the ‘Documents of Control’”,
English Literary Renaissance 16 (1996) 17-45
S. Greenblatt, Shakespearean Negotiations (Berkeley 1988)
S. Greenblatt, “Introduction”, in S. Greenblatt et al. eds, The Norton Shakespeare (New York 1997)
1-76
M. Heinemann, Puritanism and Theatre: Thomas Middleton and the Opposition Drama under the
Early Stuarts (Cambridge 1980)
A. Henderson, “Death on Stage, Death of the Stage: The Antitheatricality of the Duchess of Malfi”,
Theatre Journal 42 (1990) 194-207
J. Howard, The Stage and Social Struggle in Early Modern England (N. York and London 1995)
J. Howard, “Renaissance Anti-Theatricality and the Politics of Gender and Rank in Much Ado
about Nothing”, in J. E. Howard and M. F. O'Connor (eds), Shakespeare Reproduced: The Text in
History and Ideology (New York and London 1987) 163-87
W. Ingram, The Business of Playing: the Beginnings of the Adult Professional Theater in
Elizabethan London (Ithaca and London 1992)
D. Scott Kastan (ed), A Companion to Shakespeare (Oxford 1999)
D. Scott Kastan and P. Stalybrass (eds), Staging the Renaissance: Representations of Elizabethan
and Jacobean Drama (London and N. York 1991)
A. F. Kinney, Markets of Bawdrie: The Dramatic Criticism of Stephen Gosson (Salzburg 1974)
L. Levine, Men in Women's Clothing: Anti-Theatricality and Effeminization 1579-1642 (Cambridge
1994)
L. Montrose, The Purpose of Playing: Shakespeare and the Cultural Politics of the Elizabethan
Theatre (Chicago and London 1996)
S. Mullaney, The Place of the Stage: License, Play, and Power in Renaissance England (Ann Arbor
1988)
M. O'Connell, “The Idolatrous Eye: Iconoclasm, Anti-theatricalism, and the Image of the
Elizabethan Theater”, E.L.H 52 (1985) 279-310
M. O'Connell, The Idolatrous Eye: Iconoclasm and Theater in Early-Modern England (Oxford
2000)
S. Orgel, Impersonations: The Performance of Gender in Shakespeare's England (Cambridge 1996)
T. Pollard, Drugs and Theater in Early Modern England (Oxford 2005)
T. Pollard, Shakespeare's Theater: A Sourcebook (Blackwell 2004)
T. Postlewait, “Theatricality and Antitheatricality in Renaissance London”, in T. Postlewait and T.
Davis (eds), Theatricality (Cambridge 2003)
B. Reynolds, “The Devil's House, ‘or Worse’: Transversal Power and Anti-Theatrical Discourse in
Early Modern England”, Theatre Journal 49 (1997) 143-67
M. A. Skura, Shakespeare the Actor and the Purposes of Playing (Chicago and London 1993)
P. Stallybrass, “Reading the Body: The Revenger's Tragedy and the Jacobean Theater of
Consumption”, Renaissance Drama, n.s. 18 (1987) 121-48
R. Targoff, Common Player (Chicago 2001)
R. Weimann, Shakespeare and the Popular Tradition (Baltimore and London 1978)
G. Wickham, H. Berry and W. Ingram (eds), English Professional Theatre, 1530-1660 (Cambridge
2000)
WEEK 7
W. Appleton and K.A.Burnim (eds), The Prompter: A Theatrical Paper (1734-1736) by Aaron Hill
and William Popple (New York 1966)
S. Aspden, ‘“An Infinity of Factions:” Opera in Eighteenth-century Britain and the Undoing of
Society”, Cambridge Opera Journal 9.1 (1997) 1-19
E. L. Avery, ‘Dancing and Pantomime on the English Stage, 1700-1737’, Studies in Philology 31
(1934) 417-452.
E. L. Avery, “Foreign Performers in the London Theaters in the Early Eighteenth Century”,
Philological Quarterly 16 (1937) 105-23
E. L. Avery, “The Defense and Criticism of Pantomimic Entertainments in the Early Eighteenth
century”, Journal of English Literary History 5 (1938) 127-145.
J. O'Brien, ‘Harlequin Britain: Eighteenth-Century Pantomime and the Cultural Location of
Entertainment(s)’, Theater Journal 50.4 (1998) 489-510
J. O'Brien, “Pantomime”, in D. O'Quinn and J. Moody (eds), The Cambridge Companion to British
theatre 1730-1830 (Cambridge 2007), 103-14
J.O'Brien, Harlequin Britain: Pantomime and Entertainment, 1690-1760 (Baltimore and London
2004)
O.G.Brockett, “The Fair Theatres of Paris in the Eighteenth Century: The Undermining of the
Classical Ideal”, in M.J. Anderson (ed), Classical Drama and Its Influence: Essays in Honor of
H.D.F.Kitto (London 1965), 249-69
M. Burden, “Opera in the London Theatres”, in D. O'Quinn and J. Moody (eds), The Cambridge
Companion to British theatre 1730-1830 (Cambridge 2007), 204-18
J. Campbell, ‘“When Men Women Turn”: Gender Reversals in Fielding’s Plays”, in F. Nussbaum
and L. Brown (eds), The New Eighteenth Century: Theory, Politics, English Literature (New York
and London: Methuen 1987), 62-83
T. McGeary, “Gendering Opera: Italian Opera as the Feminine Other in Britain, 1700-42”, Journal
of Musicological Research 14 (1994-5) 17-34
T. McGeary, “Warbling Eunuchs”: Opera, Gender, and Sexuality on the London stage, 1705-1742”,
Restoration and Eighteenth-Century Theatre Research, second series 7.1 (1992) 1-22
T. S. Gilman, “The Italian (Castrato) in London”, in R. Dellamora and D. Fischlin (eds), The Work
of Opera: Genre, Nationhood, and Sexual Difference (New York 1997) 49-70
C. Ingrassia, “Women Writing/Writing Women: Pope, Dulness, and “Feminization” in the
Dunciad”, Eighteenth Century Life 14 n.s. 3 (1990) 40-58
R.M. Isherwood, Farce and Fantasy: Popular Entertainment in Eighteenth- Century Paris (Oxford
1986)
R.M.Isherwood, ‘Entertainmnet in the Parisian Fairs in the Eighteenth Century’, Journal of Modern
History 53 (1981) 24-47
R. Leppert, “Imagery, Musical Confrontation and Cultural Difference in Early 18th-century
London”, Early Music 14 (1986) 323-38
Moody, J. Illegitimate Theatre in London, 1770-1840 (Cambridge 2000)
R. Ness, “The Dunciad and Italian Opera in England”, Eighteenth Century Studies 20 (1986-7) 17394
P. Rogers, “The Critique of Opera in Pope’s Dunciad”, Musical Quarterly 59 (1973) 15-30
M. Root-Bernstein, Boulevard Theater and Revolution in Eighteenth-Century Paris (Ann Arbor
1984)
S. Rosenfeld, The Theatre of the London Fairs in the Eighteenth Century (Cambridge 1960)
P. Sawyer, “John Rich's Contribution to the Eighteenth-Century London Stage”, in K. Richards and
P. Thompson (eds), Essays on the Eighteenth Century English Stage (London 1972) 85-104.
P. Sawyer, “The Popularity of Pantomime on the London Stage, 1720-1760”, Restoration and
Eighteenth-Century Theatre Research series V (1990) 1-16
G. C. Thomas, “Was George Frideric Handel Gay?”: On Closet Questions and Cultural Politics”,
155-204 in P. Brett, E. Wood and G. C. Thomas (eds), Queering the Pitch: The New Gay and
Lesbian Musicology (New York and London 1994)
M. S. Wilson, “Columbine's Picturesque PAssage: The Demise of Dramatic Action in the Evolution
of Sublime Spectacle on the London Stage”, The Eighteenth Century 31 (1990) 191-210
WEEK 8
* on Jean-Jacques Rousseau and 18th cent debates on the theatre in France
A. Banerjee, “Rousseau's Concept of Theatre”, British Journal of Aesthetics 17 (1977) 171-77
M. Barras, The Stage Controversy in France from Corneille to Rousseau (Ann Arbor 1973)
A. Bloom, C.Butterworth, and C. Kelly (eds), Jean-Jacques Rousseau: Letter to D'Alembert and
Writings for the Theater: The Collected Writings of Rousseau, vol.10 (Hanover 2004)
M. Carlson, Voltaire and the Theatre of the Eighteenth Century (Wesport and London 1998)
M. Carlson, Theories of the Theatre: A Historical and Critical Survey, from the Greeks to the
Present (Ithaca and London 1993), ch. on 18th cent. French theatre
P. Coleman, Rousseau's Political Imagination: Rule and Representation in the Lettre à D'Alembert
(Geneva 1984)
M. Gabriel Badir and D. J. Langdon (eds), Eighteenth-Century French Theatre: Aspects and
Contexts (Alberta 1986)
S. Gearhart, The Open Boundary of History and Fiction: A Critical Approach to the French
Enlightenment (Princeton, M. J. 1984) 261-84
A. Goodden, Actio and Persuasion: Dramatic Performance in Eighteenth-Century France (Oxford
1986)
D. Marshall, The Surprising Effects of Sympathy: Marivaux, Diderot, Rousseau and Mary Shelley
(Chicago and London 1988)
* on theatre and the Victorian novel
E. Allen, Theater Figures: The Production of the Nineteenth-Century British Novel (Columbus
2003)
M. Andrews, Charles Dickens and his Performing Selves: Dickens and the Public Readings
(Oxford 2006)
N. Auerbach, “Jane Austen's Dangerous Charm: Feeling as One Ought About Fanny Price”, in
Romantic Imprisonment: Women and Other Glorified Outcasts (New York 1985) 22-37
N. Auerbach, Private Theatricals: The Lives of the Victorians (Cambridge, Mass and London 1990)
D. David (ed), The Cambridge Companion to the Victorian Novel (Cambridge 2001)
J. M. Duffy, “Moral Integrity and Moral Anarchy in Mansfield Park”, E.L.H. 23 (1956)
C. Knatchbull Bevan, “Personal Identity in Mansfield Park: Forms, Fictions, Role-Play, and
Reality”, SEL 27 (1987) 595-608
J. Litvak, “The Infection of Acting: Theatricals and Theatricality in Mansfield Park”, E.L.H. 53.2
(1986)331-55
J. Litvak, Caught in the Act: Theatricality in the Nineteenth-Century English Novel (Berkeley 1992)
D. Marshall, “True Acting and the Language of Real Feeling: Mansfield Park”, Yale Journal of
Criticism 3.1 (1989) 87-106, now reprinted in D. Marshall, The Frame of Art: Fictions of Aesthetic
Experience, 1750-1815 (Baltimore 2005)
M. Meisel, Realizations: Narrative, Pictorial and Theatrical Arts in Nineteenth-Century England
(Princeton, NJ 1983)
N. Nachumi, Acting Like a Lady: British Women Novelists and the Eighteenth-Century Theatre
(AMS Studies in the Eighteenth Century, vol. 50, 2008)
G. Russell, “Private Theatricals”, in D. O'Quinn and J. Moody (eds), The Cambridge Companion to
British theatre 1730-1830 (Cambridge 2007), 191-204
R. Stern, “Moving Parts and Speaking Parts: Situating Victorian Anti-theatricality”, ELH 65.2
(1998) 423-449
L. Trilling, “Mansfield Park”, repr. in Ian Watt (ed) Jane Austen: A Collection of Critical Essays
(Englewood Cliffs, N. J. 1963)
D. Vlock, Dickens, Novel reading, and the Victorian Popular Theatre (Cambridge 1998)
L. Voskuil, Acting Naturally: Victorian Theatricality and Authenticity (Charlottesville, VA and
London 2004)
WEEK 9 :
(boy) actors
J.W.Binns, “Women or Transvestites on the Elizabethan Stage? An Oxford Controversy”,
Sixteenth-Century Journal 5:2 (1974) 95-120
D. Callaghan, “‘And All is Semblative a Woman's Part’: Body Politics and Twelfth Night”, Textual
Practice 7 (1993) 428-52
J. Dollimore, “Subjectivity, Sexuality, and Transgression: The Jacobean Connection”, Renaissance
Drama n.s. 17 (1986) 53-81
S. Greenblatt, “Fiction and Friction”, in T. C. Heller, M. Sosna, and D. E. Wellbery (eds),
Reconstructing Individualism: Autonomy, Individuality and the Self in Western Thought (Stanford
1986) 30-52
L. Jardine, Still Harping on Daughters: Women and Drama in the Age of Shakespeare (Brighton,
Sussex 1983)
J. Howard, “Cross-Dressing, The Theatre, and Gender Struggle in Early Modern England”,
Shakespeare Quarterly 39 (1988) 418-40
L. Levine, Men in Women's Clothing: Anti-Theatricality and Effeminization 1579-1642 (Cambridge
1994)
K. E. Maus, “‘Playhouse Flesh and Blood’: Sexual Ideology and the Restoration Actress”, English
Literary History 46 (1979) 595-617
K. E. Maus, “Horns of Dilemma: Jealousy, Gender, and Spectatorship in English Renaissance
Drama”, English Literary History 54 (1987) 561-83
K.McLuskie, “The Act, the Role, and the Actor: Boy Actresses on the Elizabethan Stage”, New
Theatre Quarterly 3 (1987) 120-30
S. Orgel, Impersonations: The Performance of Gender in Shakespeare's England (Cambridge 1996)
P. Stallybrass, “Worn Worlds: Clothes and Identity on the Renaissance Stage”, in M.de Grazia, M.
Quilligan, and P. Stallybrass (eds), Subject and Object in Renaissance Culture (Cambridge 1996)
289-320
P. Rackin, “Androgyny, Mimesis, and the Marriage of the Boy Heroine on the English Renaissance
Stage”, PMLA 102 (1987) 29-41
P. Rackin, “Shakespeare's Boy Cleopatra, the Decorum of Nature and the Golden World of Poetry”,
PMLA 87 (1972) 201-12
M. Shapiro, “Lady Mary wroth Describes a ‘Boy Actress’”, Medieval and Renaissance Drama in
England 4 (1987) 187-94
K. Straub, Sexual Suspects: Eighteenth-Century Players and Sexual Ideology (Princeton 1992)
K. Straub, “Actors and Homophobia”, in J.D.Canfild and D.C.Payne (eds), Cultural Readings of
Restoration and Eighteenth-Century English Theater (Athens and London 1995) 258-80
V. Traub, Desire and Anxiety (London and N.York 1992)
castrati opera singers
S. D. Abel, Opera in the Flesh: Sexuality in Operatic Performances (Boulder, Colo: Oxford,
Westview Press 1996)
N. André, Voicing Gender: Castrati, Travesti, and the Second Woman in Early-Nineteenth-Century
Italian Opera (Bloomington and Indianapolis 2006)
P. Barbier, The World of the Castrati: The History of an Extraordinary Operatic Phenomenon (tr.
M. Crosland) (London, 1996)
X. Cervantes, “Tuneful Monsters: The Castrati and the London Operatic Public 1667-1737”,
Restoration and Eighteenth-century Theatre Research 13. 1. (1998) 1-24
J. Dame, “Unveiled Voices: Sexual Difference and the Castrato”, in P. Brett, E. Wood, G. Thomas
(eds), Queering the Pitch: The New Gay and Lesbian Musicology (London and N. York 1994) 13953
V. Finucci, The Manly Masquerade: Masculinity, Paternity and Castration in the Italian
Renaissance (Durham, N.C. and London 2003)
R. Freitas, “The Eroticism of Emasculation: Confronting the Baroque Body of the Castrato”, The
Journal of Musicology 20. 3 (2003) 196-249.
M. Garber, Vested Interests: Cross Dressing and Cultural Anxiety, (London and N. York 1992)
W. Koestenbaum, The Queen's Throat: Opera, Homosexuality and the Mystery of Desire (London
1993)
B. Kowaleski-Wallace, “Shunning the Bearded Kiss: Castrati and the Definition of Female
Sexuality”, Prose Studies 15. 2 (1992) 153-170
S.J. Leonardi and R. A. Pope, The Diva’s Mouth: Body, Voice, Prima Donna Politics (New
Brunswick, N.J. 1996)
J. Roach, “Power’s Body: The Inscription of Morality as Style”, in T. Postlewait and B.A.
McConachie (eds), Interpreting the Theatrical Past (Iowa City 1989) 99-118
J. Rosselli, ‘The Castrati as a Professional Group and A Social Phenomenon, 1550-1850’, in Acta
Musicologica 60 (1988) 143-79
J. Roselli, “Song into Theatre: The Beginnings of Opera”, in J. Potter (ed). The Cambridge
Companion to Singing (Cambridge 2000) 83-95
L. Senelick, The Changing Room: Sex, Drag and Theatre (London and New York 2000)
A. Sikes, “Snip Snip Here, Snip Snip There, and a Couple of Tra La Las”: The Castrati and the
Nature of Sexual Difference”, Studies in Eighteenth- Century Culture 34 (2005) 197-229
male ballerinos
J. Acocella and L. Garafola (eds), André Levinson on Dance: Writings from Paris in the Twenties
(Hanover NH 1991)
R. Burt, The Male Dancer: Bodies, Spectacle, Sexuality (London 1995)
R. Burt, “The Trouble with the Male Dancer”, in A. Dils (ed), Moving History/Dancing Cultures
(Hanover, NH 2001) 44-55
J. Chapman, “Jules Janin: Romantic Critic”, in Rethinking the Sylph: New Perspectives on the
Romantic Ballet (Hanover and London 1997) 197-241
M. Clark, “Bodies at the Opéra: Art and the Hermaphrodite in the Dance Criticism of Théophile
Gautier”, in R. Parker and M. A. Smart (eds), Reading Critics Reading: Opera and Ballet Criticism
in France from the Revolution to 1848 (Oxford 2001) 237-53
S. J. Cohen (ed) Dance as a Theatre Art: Source Readings in Dance History from 1581 to the
Present (New York 1974)
R. Copeland and M. Cohen (eds), What is Dance? Readings in Theory and Criticism (Oxford 1983)
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