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1、MARIANMOMENTSINEARLYMODERNBRITISHDRAMAConcerningitselfwiththecomplexinterplaybetweeniconoclasmagainstimagesoftheVirginMaryinpost-ReformationEnglandandstagerepresentationsthatevokevarious‘Marianmoments’fromthemedieval,Catholicpast,thiscollectionanswersthecallforfurtherinvestigationofthecomple
2、xrelationshipbetweenthefraughtreligio-politicalcultureoftheearlymodernperiodandthetheaterthatitspawned.JoininghistoriansinrejectingthereceivedbeliefthatCatholicismcouldbeturnedonandofflikeawaterspigotinresponsetosixteenth-centuryreligiousreform,theearlymodernBritishtheaterscholarsinthiscolle
3、ctionturntheirattentiontothevestigesofCatholictraditionandculturethatleakoutinstageimagery,plotdevices,andcharacterizationinwaysthatarenotalwaysclearlyengagedinthebusinessofProtestantpanegyricorpolemic.Amongthequestionstheyaddressare:WhatistheculturalfunctionofdramaticMarianmoments?AreMarian
4、momentsnostalgicfor,orcriticalof,the‘OldFaith’?HowdoMarianmomentsnegotiatetheculturaltraumaoficonoclasmand/ortheReformationinearlymodernEngland?DidthesestagepicturesofMaryprovidesubversivetouchstonesfortheOldFaithofparticularimporttocrypto-Catholicorrecusantmembersoftheaudience?ReginaBuccola
5、isAssociateProfessorofLiteratureandLanguageatRooseveltUniversity,USA.LisaHopkinsisProfessorofEnglishatSheffieldHallamUniversity,UK.GeneralEditor’sPrefaceHelenOstovich,McMasterUniversityPerformanceassumesastringofcreative,analytical,andcollaborativeactsthat,indefianceoftheatricalephemerality,li
6、veonthroughrecords,manuscripts,andprintedbooks.Themonographsandessaycollectionsinthisseriesofferoriginalresearchwhichaddressestheatrehistoriesandperformancehistoriesinthecontextofthesixteenthandseventeenthcenturylife.Ofespecialinterestarestudiesinwhichwomen’sactivitiesareacentralfeatureofdis
7、cussionasfinancialortechnicalsupporters(patrons,musicians,dancers,seamstresses,wigmakers,or‘gatherers’),ifnotauthorsorperformersperse.Welcometooarecritiquesofearlymoderndramathatnotonlytakeintoaccounttheproductionvaluesoftheplays,butalsospeculateonh
