GABRIELE NEHER draws attention to an astoundingly skilled Flemish painter who defied the notion that women cannot paint like men
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Revelatory work of literary detection
Research into the lost plays of the Shakespearean period provides new insights into the Bard and his work, says GORDON PARSONS
SHAKESPEARE'S STAGES: A panorama of London by Claes Van Visscher in 1616 shows two theatres — The Bear Garden and The Globe — in the foreground
[Wikipedia]
The Bard pays homage to Hull’s finest promoter and venue, and awards Douze Points to Laibach
KEVIN DONNELLY outlines how the bourgeois institutions inhibit our ability to to view art in revolutionary ways, and suggests some tactics to overturn it
ANDY HEDGECOCK welcomes an accessible - and optimistic - take on our relationship to new technology
JOHN GREEN suggests that a new, biased, and highly readable re-hash of the story of the Cambridge Five be taken with a large pinch of salt
BRENT CUTLER welcomes a timely reminder of the long history of protests and the outdoor spaces in which they takes place
Shakespeare and Lost Plays
by David McInnis
(Cambridge University Press, £29.99)
DESPITE extensive research, relatively little is known about Shakespeare and his work and, consequently, popular scholarship tends to focus on the language and dramaturgy of the Bard’s extant plays.
Fortunately, compared with his contemporaries, many of his plays have survived through fellow actors posthumously collecting 36 of them in the famous First Folio.
Theatre historian David McInnis recognises that rather than being an isolated artist foreseeing his world reputation, this busy working dramatist, feeding the insatiable daily theatre appetite of Elizabethan and early Jacobean audiences, must essentially have responded to the currents of popularity and fashion, as important in the 16th and 17th centuries as they are today.
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