Inventions of the Skin : : The Painted Body in Early English Drama / / Andrea Stevens.

• Superior document: Title is part of eBook package: De Gruyter Edinburgh University Press Backlist eBook-Package 2013-2000
• VerfasserIn: Stevens, Andrea,
• Place / Publishing House: Edinburgh : : Edinburgh University Press, , [2022]; ©2013
• Year of Publication: 2022
• Language: English
• Series: Edinburgh Critical Studies in Renaissance Culture : ECSRC
• Physical Description: 1 online resource (192 p.) :; 12 B/W illustrations
• Other title: Frontmatter --; Contents --; Acknowledgments --; Bibliographical Note --; Series Editor's Preface --; Introduction --; Chapter 1 Light: Staging Divinity in the York Cycle --; Chapter 2 Blood: Enter Martius, Painted --; Chapter 3 Black: Mastering Masques of Blackness --; Chapter 4 Stone: Lost Ladies --; Epilogue --; Bibliography --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9780748670505; 9783110780468
• DOI: 10.1515/9780748670505?locatt=mode:legacy
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Andrea Stevens.

Examines the painted body of the actor on the early modern stageInventions of the Skin illuminates a history of the stage technology of paint that extends backward to the 1460s York cycle and forward to the 1630s. Organized as a series of studies, the four chapters of this book examine goldface and divinity in York's Corpus Christi play, with special attention to the pageant representing The Transfiguration of Christ; bloodiness in Elizabethan and Jacobean drama, specifically blood's unexpected role as a device for disguise in plays such as Look About You (anon.) and Shakespeare's Coriolanus; racial masquerade within seventeenth-century court performances and popular plays, from Ben Jonson's Masque of Blackness to William Berkeley's The Lost Lady; and finally whiteface, death, and stoniness" in Thomas Middleton's The Second Maiden's Tragedy and Shakespeare's The Winter's Tale. Recovering a crucial grammar of theatrical representation, this book argues that the onstage embodiment of characters-not just the words written for them to speak-forms an important and overlooked aspect of stage representation."