Vol. 74, No. 1 (pp. 1 - 62, 2020)
Kitty Clive: Her Birth and Marriage Dates *** Seventeenth-century English Rope Dancers in the Low Countries *** Dukeys, Gaffs and Shop Shows: Seeing the Penny Theatre in a Different Light
Theatre Notebook
A journal of the history and technique of the British theatre.
Exploring a wide interpretation of theatrical activities, covering buildings, performers, techniques, theory and practice connected with British and British-related theatre.
Theatre Notebook is a journal of the history and technique of the British theatre. It interprets theatre widely, covering theatrical activities inside and outside theatre buildings, professional and amateur theatre, the business of theatre, stage design, the history of theatre buildings, acting technique, and theatre outside the British Isles that relates directly to the history and technique of British theatre.
The Editors of Theatre Notebook welcome offers of contributions that record, analyse, reinterpret and celebrate the achievements of British theatre practitioners from any period, including the very recent past. Essays that focus purely on dramatic literature are not considered.
The Editors recognise the crucial importance of a scholarly approach to facts and interpretation but have no theoretical preferences, recognising the importance of representing a wide spectrum of contemporary positions.
All enquiries and offers of contributions should be addressed to the editor, Trevor Griffiths
Theatre Notebook is published by the STR three times a year and distributed to subscribers. Back Issues can be bought separately. Browse the Back Issue index and order from there.
Binders are available for back issues. Each binder holds two volumes (6 issues) of Theatre Notebook, plus relevant contents and indices inserts. To buy these, click on the relevant link.
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Current Issue - Volume 74 Number 2
In this issue:
The Theatrical Career of Mary Ann Canning, Part 3: Leaving the Stage, 1789- 1791
by Julian Crowe
“At Three Doores”, “At Three Seuerall Doores”, and “At The Middle Dore”: three stage directions referring to three stage doors
by Mariko Ichigawa
“Monsieur Gouffe”, Man-Monkey: an early icon of the illegitimate theatre
by Bernard Ince
Book Reviews
Shakespeare in the Theatre: Peter Hall, by Stuart Hampton-Reeves, and Shakespeare in the Theatre: Cheek By Jowl, by Peter Kirwan, reviewed by Sara Reimers
Reconstructing the Rose: 3D Computer Modelling Philip Henslowe’s Playhouse, by Roger Clegg and Eric Tatham, reviewed by Jo Robinson
Irish Drama and Theatre since 1950, by Patrick Lonergan, reviewed by Trish McTighe
Recent Back Issues
Vol. 73, No. 3 (pp 127-188 2019)
The Theatrical Career of Mary Ann Canning Part 2: May 1777 to December 1788***Strolling with Shakespeare and Friends: New Evidence from the Late Seventeenth Century***Protagonists in Paper: Toy Theatres and the Cultivation of Celebrity
Vol. 73, No. 2 (pp. 69-126, 2019)
The Theatrical Career of Mary Ann Canning, Part 1: November 1773 — December 1776 *** The Diary of Benjamin Griffin: A Re-appraisal *** ‘One of the few theatres in England who really care about dramatists’: New Writing at the Victoria Theatre, Stoke-on-Trent
Vol. 73, No. 1 (pp. 1-68, 2019)
New Light on the Baroness *** Rediscovering Nora Charrington, Actress and Fabian *** Jacob Hall and other Rope Dancers on the Continent, 1678-1682
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Submission Guidelines
Theatre Notebook is published by the STR three times a year. As a journal of the history and technique of the British theatre, we are prepared to consider work on a wide variety of topics concerned with theatre history and practice, but we do not publish essays that are mainly or solely concerned with dramatic literature or literary criticism of play texts.
We do not prescribe maximum or minimum lengths for essays and we welcome essays at any time of the year. We aim to respond to authors within a month, but at particularly busy times that may not always be possible.
Please note, articles should be formatted in accordance with Modern Language Association of America (MLA) style. British spelling should be used and the first names of all persons referred to should be given when they are first mentioned.
Essays will be considered anonymously so they should not contain any identification within the article itself, although we will need a short biographical note about the author when an article is accepted for publication. Authors should confirm that they have obtained and met the cost of any relevant permissions.
All enquiries about contributions are welcome, and should be directed to
theatrenotebook@str.org.uk
or write to
Trevor Griffiths
Theatre Notebook
4 Warner Road
LONDON N8 7HD