Introduction by John J McGavin and Greg Walker; PART I Courts; 1 Plays and playcoats: a courtly interlude tradition in Scotland?, Comparative Drama, 46:4 (2012), pp. 475–96; 2 ‘To thexaltacyon of noblesse’: a herald’s account of the marriage of Margaret Tudor and James IV, Medieval English Theatre, 29 (2009 for 2007), pp. 104–20; 3 ‘Gely wyth tharmys of Scotland England’: word, image and performance at the marriage of James IV and Margaret Tudor, in ‘Fresche Fontanis’: Studies in the Culture of Medieval and Early Modern Scotland, ed. by Janet Hadley Williams and J. Derrick McClure (Newcastle: Cambridge Scholars Press, 2013), pp. 165–77. Published with the permission of Cambridge Scholars Publishing; 4 (with Graham Runnalls), The Entertainments at the marriage of Mary Queen of Scots and the French Dauphin François, 1558: Paris and Edinburgh, Medieval English Theatre, 22 (2000), pp. 145–61 [with thanks to Mrs Anne Runnalls]; 5 Performing diplomacies: the 1560s court entertainments of Mary Queen of Scots, Scottish Historical Review, LXXXII: 2 (October 2003), pp. 194–225. Reproduced with permission of the Licensor through PLSclear; 6 Love and chastity: political performance in Scottish, French, and English courts of the 1560s, in Joyous Sweit Imaginatioun: Essays in Honour of Professor R.D.S. Jack, ed. by Sarah Carpenter and Sarah Dunnigan, SCROLL (Amsterdam and New York: Rodopi, 2007), pp. 111–28; 7 Dramatising Ideology: Monarch, State, and People, Theta, 9 (2011), pp. 95–112; PART II Audiences; 8 New evidence: Vives and audience-response to biblical drama, Medieval English Theatre, 31 (2011 for 2009), pp. 3–12; 9 Verity’s Bible: books, texts, and reading in Ane Satyre of the Thrie Estaitis, Medieval English Theatre, 33 (2011), pp. 58–74; 10 Towards a reformed theatre: David Lyndsay and Ane Satyre of the Thrie Estaitis, The Yearbook of English Studies, 43 (2013), pp. 203–22. Reproduced by permission of the Modern Humanities Research Association; 11 The sixteenth-century court audience: performers and spectators, Medieval English Theatre, 19 (1997), pp. 3–14; 12 ‘My Lady Tongue’: Thomas Tomkis’s Lingua, Medieval English Theatre, 24 (2002), pp. 3–14; 13 The politics of unreason: Ane Satyre of the Thrie Estaitis and the practices of folly, Theta, 10 (2013), pp. 35–52; 14 Laughing at natural fools, Theta, 11 (2014) pp. 3–22; 15 The places of foolery: Robert Armin and fooling in Edinburgh, Medieval English Theatre, 37 (2015), pp. 11–26.
Sarah Carpenter taught in the English department at Exeter University before joining the department at Edinburgh in 1976. She has interests in drama and in the medieval and Tudor periods, teaching courses in medieval English and Scots literature, and in drama and theatre history. During her time at Edinburgh she has worked widely in student support, curriculum development and teaching practice, and was head of department 2003-2006. She is an editor of the journal Medieval English Theatre, and has published books and articles on early theatre, performance, staging, and political and cultural issues, including Masks and Masking in Medieval and Early Tudor England (with Meg Twycross, 2002) for Routledge. She is currently preparing a set of pre-1642 drama records relating to the Scottish Royal Court, for the ‘Records of Early English Drama’ series.
John J McGavin is Emeritus Professor of Medieval Literature and Culture at the University of Southampton. He has published on a range of medieval topics, including Chaucer and Dissimilarity (2000), Theatricality and Narrative in Medieval and Early-Modern Scotland (2007), which won the Frank Watson Book Prize for Scottish History, and with Professor Greg Walker, Imagining Spectatorship from the Mysteries to the Shakespearean Stage (2016). With Dr Eila Williamson of Glasgow University, he is preparing a set of pre-1642 provincial drama records from the South-East of Scotland, for the ‘Records of Early English Drama’ series.
Greg Walker is Regius Professor of Rhetoric and English Literature at the University of Edinburgh. He writes mainly on medieval and Renaissance drama and cultural history. His most recent books include, The Oxford Handbook of Tudor Drama (co-edited with Thomas Betteridge, OUP, 2012), Reading Literature Historically (Edinburgh UP, 2013), The Oxford Anthology of Tudor Drama (OUP, 2014), and Imagining Spectatorship from the Mysteries to the Shakespearean Stage (OUP, 2016), co-written with John J. McGavin. He has just completed for OUP a biography of the playwright, musician and epigrammatist John Heywood, funded by a Leverhulme Trust Major Research Fellowship.