Full citation:Parolin, Peter. 2005. “The Venetian Theater of Aletheia Talbot, Countess of Arundel” in Women Players in England, 1500-1660: Beyond the All-Male Stage, edited by Pamela Allen Brown & Peter Parolin. Ashgate, Burlington. ISBN 978-0-7546-0953-7
Although this collection does have one paper addressing female homoeroticism on stage, I have covered it primarily as background reading for exploring role-playing and stage theatrics as a context for romance tropes involving female couples.
Part IV Beyond the Stage; Parolin - The Venetian Theater of Aletheia Talbot, Countess of Arundel
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This article frame is the legal defense of the Countess of Arundel against espionage charges in Venice as a sort of theatrical performance. As context for this, the author reviews the countess’s experience performing in masques at the court of James I. The article feels like it’s stretching the premise of the collection a bit, and feels fairly speculative, using the phrases “might have,” and “must have” a bit too often for confidence.
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