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Pages in category "16th-century English dramatists and playwrights" The following 46 pages are in this category, out of 46 total. This list may not reflect recent changes .
16th; 17th; 18th; 19th; 20th; 21st; Subcategories. ... Pages in category "16th-century dramatists and playwrights" The following 12 pages are in this category, out of ...
In just over two years, from spring 1598 to summer 1600, Wilson worked with other members of Henslowe's stable of house playwrights on sixteen different plays, including three two-part projects. Several of these were never completed. Earl Goodwin and his Three Sons, Parts 1 and 2, with Michael Drayton, Henry Chettle, and Thomas Dekker; March 1598.
He was drawn into the Martin Marprelate controversy on the side of the bishops. As with the other writers in the controversy, his share is difficult to determine. He was formerly credited with the three "Pasquill" tracts of 1589–1590, [5] which were included in R. B. McKerrow's standard edition of Nashe's works: however McKerrow himself later argued strongly against their being by Nashe. [6]
Robert Greene (1558–1592) was an English author popular in his day, and now best known for a posthumous pamphlet attributed to him, Greene's Groats-Worth of Witte, bought with a million of Repentance, widely believed to contain an attack on William Shakespeare.
Title page from A Pleasant Comedy, Called a Maidenhead Well Lost, 1634. Thomas Heywood (early 1570s – 16 August 1641) was an English playwright, actor, and author. His main contributions were to late Elizabethan and early Jacobean theatre.
It was left to "the actor-playwrights who, rising from very humble beginnings, but possessing in their fellow Shakespeare a champion unparalleled in ancient and modern times, borrowed the improvements of the university wits, added their own stage knowledge, and with Shakespeare's aid achieved the master drama of the world."
In the Elizabethan era, research has been conclusive about how many actors and troupes there were in the 16th century, but little research delves into the roles of the actors on the English renaissance stage. The first point is that during the Elizabethan era, women were not allowed to act on stage. The actors were all male; in fact, most were ...