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Full-Text Articles in Theatre and Performance Studies

Phantastes Chapter 14: Winter's Tale, William Shakespeare Dec 1622

Phantastes Chapter 14: Winter's Tale, William Shakespeare

German Romantic and Other Influences

William Shakespeare (1564-1616), The Winter’s Tale, published in 1623 in the First Folio.


Phantastes Chapter 20: The Faithful Shepherdess, John Fletcher Dec 1608

Phantastes Chapter 20: The Faithful Shepherdess, John Fletcher

German Romantic and Other Influences

John Fletcher (1579-1625) was a contemporary of William Shakespeare and followed him as main playwright for the King’s Men. The Faithful Shepherdess (produced in 1608, probably published in 1609) is also important for Fletcher’s definition of tragicomedy, which highlights the importance of near-death to the genre.


Phantastes Chapter 22: The Revenger's Tragedy, Cyril Tourneur Dec 1606

Phantastes Chapter 22: The Revenger's Tragedy, Cyril Tourneur

German Romantic and Other Influences

Cyril Tourneur (1575-1626) was an English dramatist, a contemporary of Shakespeare; Tourneur was also a soldier and politician. The Revenger’s Tragedy (1607), as its name implies, is a revenge tragedy, and comments on the battle to avenge the destruction by the giants that lead to the brothers’ deaths. Literary critics now believe that the play was written by Thomas Middleton (1580-1627).


Phantastes Chapter 24: The Honest Whore, Thomas Dekker, Thomas Middleton Dec 1604

Phantastes Chapter 24: The Honest Whore, Thomas Dekker, Thomas Middleton

German Romantic and Other Influences

Thomas Dekker (1572-1632) was a dramatist and writer of popular pamphlets describing London life. This line comes from the play The Honest Whore, Part II (1605 or 1606). The Honest Whore, Part I, a collaboration between Dekker and Thomas Middleton, was performed in 1604.


Phantastes Chapter 15: Campaspe, John Lyly Dec 1583

Phantastes Chapter 15: Campaspe, John Lyly

German Romantic and Other Influences

Campaspe, an Elizabethan play by John Lyly (1584). The lines quoted are from Act 3, Scene 4, and they indicate the notion of a Platonic beauty, an ideal beauty that the artist can never capture perfectly