Women Players in England, 1500–1660: Beyond the All-Male Stage

Cover
Title Page
Copyright Page
Table of Contents
List of Illustrations
List of Musical Transcriptions
Contributors
General Editor\'s Preface
1: Introduction
Part I: Beyond London
	2: Women and Performance: Evidences of Universal Cultural Suffrage in Medieval and Early Modern Lincolnshire
	3: Payments, Permits and Punishments: Women Performers and the Politics of Place
Part II: Beyond Elites
	4: The Case of Moll Frith: Women’s Work and the “All-Male Stage”
	5: “Quacking Delilahs”: Female Mountebanks in Early Modern England and Italy
Part III: Beyond the Channel
	6: Reading the Actress in Commedia Imagery
	7: “Merry, nimble, stirring spirit[s]”: Academic, Salon and Commedia dell’arte Influence on the Innamorate in Love\'s Labour\'s Lost
	8: Women Performing Homoerotic Desire in English and Italian Comedy: La Calandria, Gl\'Ingannati and Twelfth Night
	9: Courtly Comediantes: Henrietta Maria and Amateur Women’s Stage Plays in France and England
Part IV: Beyond the Stage
	10: The Venetian Theater of Aletheia Talbot, Countess of Arundel
	11: “Pleaders, Atturneys, Petitioners and the like”: Margaret Cavendish and the Dramatic Petition
Part V: Beyond the “All-Male”
	12: Staging the Absent Woman: The Theatrical Evocation of Elizabeth Tudor in Heywood’s If You Know Not Me, You Know Nobody, Part I
	13: Female Impersonation in Early Modern Ballads
	14: Jesting Rights: Women Players in the Manuscript Jestbook of Sir Nicholas Le Strange
Afterword
Index