chronicle plays

chronicle plays,

dramas based upon 16th-century chronicles in English, particularly those of Edward HallHall, Edward,
1499?–1547, English chronicler. He wrote The Union of the Noble and Ilustre Famelies of Lancastre and York (1548), usually called Hall's Chronicle.
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 and Raphael HolinshedHolinshed, Raphael
, d. c.1580, English chronicler. He was a translator who also assisted Reginald Wolfe in the preparation of a universal history, which was never finished.
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. These plays became very popular late in the reign of Elizabeth I, when, in a burst of patriotism, the public became interested in the history of their country. Starting as loosely structured depictions of events featuring large casts, battle scenes, and much pageantry, the chronicles evolved into narratives of the events of the reign of a single king. Christopher Marlowe depicted the reign of Edward II, whereas Shakespeare treated the histories of kings from Richard II to Henry VIII. His Henry IV, Parts I and II, and Henry V are marked by complex characterizations and comic subplots.
References in periodicals archive ?
Murakami reads Pickering's play as a response to Preston's Cambises and she argues that together the plays show how such chronicle plays as these evoke moral positions opposed to those found in the earlier moral dramas.
Always putting our readers first, the Chronicle plays a valued role in communities across the region.
After a chapter on actors, plays, and playhouses, he works his way through the plans, with asides on the warrior plays and the chronicle plays as groups.
The same is true in his treatment of the chronicle plays, even though he later approvingly cites Jonathan Goldberg's celebration of the contingency within Renaissance literature (175).
In contrast to the historical dramas staged by the rival Henslowe companies, which, he argues, were less concerned with the "consolidation and maintenance of royal power" than with the plight of the socially inferior "victims of such power," Shakespeare's chronicle plays exorcised the common people from their vision of the nation with increasing ruthlessness:
On the face of it, Henry V offers ample evidence to validate the proposition that, of all Shakespeare's chronicle plays, this one is "closest to state propaganda," and that such proximity denies the "less privileged classes" a significant place in the nation.
As Larry Champion observes of this patriotic reading, "the essential difficulty with such an approach is that it assumes both an audience basically sympathetic to the monarchy and a universal perspective in plays that, in fact, are designed to appeal to, and engage the emotional interests of, as many spectators as possible" (The Noise of Threatening Drum": Dramatic Strategy and Political Ideology in Shakespeare and the English Chronicle Plays (Newark: University of Delaware Press, 1990), 9.
In Local Newspaper Week, we look at the role the Chronicle plays at the heart of the community.
Heywood in An Apology for Actors (1612), encourages us to regard Edward IV as homiletic: chronicle plays, he claims, "teach .
Any discussion of the chronicle plays of the 1590s would obviously be meaningless without consideration of Shakespeare--especially of the two tetralogies that made the genre commercially viable and that realized its highest artistic possibilities.
In the second part of our series for Local Newspaper Week, Julie Cush looks at the role the Chronicle plays at the heart of the community
In the second part of our series for Local Newspaper Week, we look at the role the Evening Chronicle plays at the heart of the community.