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PRODUCING HOUSES PRODUCING HOUSES
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SITE-SPECIFIC PRODUCTIONS SITE-SPECIFIC PRODUCTIONS
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PRODUCTIVE ESTATES PRODUCTIVE ESTATES
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FURTHER READING FURTHER READING
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23 Daughters of the House: Women, Theatre, and Place in the Seventeenth Century
Get accessJulie Sanders is Professor of English Literature and Drama and Deputy Vice-Chancellor and Provost at Newcastle University. She has published widely on early modern literature, not least on women’s writing, including essays on Margaret Cavendish and the Tixall Sisters, and articles on Jacobean and Caroline drama in English Literary Renaissance, Modern Language Review, Shakespeare Survey and Theatre Journal. Her monographs include The Cultural Geography of Early Modern Drama, 1620–1650 published by Cambridge University Press in 2011 and winner of the British Academy Rose Mary Crawshay prize in 2012 and she co-authored Ben Jonson’s Walk to Scotland with James Loxley and Anna Groundwater (Cambridge University Press, 2015). She has edited several plays by Jonson and others including The New Inn for the Cambridge Complete Works of Ben Jonson and she co-edited Three Seventeenth-Century Plays on Women and Performance with Hero Chalmers and Sophie Tomlinson for the Revels Drama series (Manchester University Press, 2011). Her current research project is on the social life of things in early modern London and she is also co-editor of a commissioning series on ‘Early Modern Literary Geographies’ with Garrett A. Sullivan Jr for Oxford University Press.
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Published:19 December 2022
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Abstract
This chapter explores the place-based work of a number of seventeenth-century women playwrights, arguing for their site-specificity but also that their work was inflected by broader theatrical and literary movements in the period. Likely written at Penshurst, Lady Mary Wroth’s Love’s Victory can be understood not only through intertextual relationships with the work of Ben Jonson and her famous relations but as a site-specific work imbued with spatial practices and daily activities that informed family life there. Jane and Elizabeth Cavendish’s ‘Pastorall’ was written while running Welbeck Abbey for their father, and is read alongside Rachel Fane’s 1620s Apethorpe productions, in particular her 1627 ‘May Masque’. These case studies are examples of ‘daughters of the house’: women producing place-based and place-making art in powerful family, regional, and national contexts, and the importance to them of their experiences of managing and of living inside these ‘producing houses’.
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