1.The Master of Revels
The man to impress and fear...
Anyone involved in the production of plays in Elizabethan England, from the playwright to the theatre owners, knew that the Master of Revels was the man to impress and fear, for he auditioned acting troupes, selected the plays they would perform, and controlled the scenery and costumes to be used in each production.
During the reign of James I, the Master of Revels reached the apex of his power and had complete authority over both the production and the publication of plays.
The Master of Revels, deputy to the Lord Chamberlain, headed the Revels Office, the department of the royal household responsible for the coordination of theatrical entertainment at court. To perform at court was the ultimate goal of every Elizabethan theatre company and, even if certain renegade companies did not desire to gain a royal audience, they had little choice but to pretend to shape their every action to this end. "Practising to perform at court for the monarch's entertainment was the only officially accepted excuse the playing companies could give for playing regularly in London" (Gurr, 19). And, without the London audiences, it was unlikely that a troupe would survive.
When the Master of Revels organized an upcoming season of performances he would summon the acting troupes so that they could audition before him and his three subordinate officers. The Master would then choose which companies would perform and which plays they were allowed to produce. If the Master saw fit, he would delete lines or passages and even request that entire scenes be inserted into the original material.
Once the Master selected the plays to be produced before the royal court, he arranged for all the required costumes and scenery to be created by his own seamstresses and workmen. Much time and money was spent on the elaborate wardrobes, and only the finest fabrics were used.
2.Sir Edmund Tilney or Tylney (1536–1610) was a courtier best known now as Master of the Revels to Queen Elizabeth and King James. He was responsible for the censorship of drama in England. He was also instrumental in the development of English drama of the Elizabethan period. Tilney made the office of Master of the Revels into an institution.
3.Euphues: The Anatomy of Wit /ˈjuːfjuːiːz/, a didactic romance written by John Lyly, was entered in the Stationers' Register 2 December 1578 and published that same year. It was followed by Euphues and his England, registered on 25 July 1579, but not published until Spring of 1580. The name Euphues is derived from Greek meaning "graceful, witty." Lyly adopted the name from Roger Ascham's The Scholemaster, which describes Euphues as a type of student who is "apte by goodnes of witte, and appliable by readines of will, to learning, hauving all other qualities of the mind and partes of the bodie, that must an other day serue learning, not trobled, mangled, and halfed, but sounde, whole, full & hable to do their office" (194). Lyly's mannered style is characterized by parallel arrangements and periphrases.
4.Campaspe is an Elizabethan era stage play, a comedy by John Lyly. Widely considered Lyly's earliest drama, Campaspe was an influence and a precedent for much that followed in English Renaissance drama.
Lyly depended on the Natural History of Pliny the Elder for the tale of Alexander the Great and Campaspe. He also drew upon the work of Diogenes Laërtius and upon Thomas North's 1580 translation of the Parallel Lives of Plutarch for information of the philosophers of ancient Greece — he includes not only Diogenes but also Plato, Aristotle, Cleanthes, Crates, Chrysippus, Crysus, and Anaxarchus. (The play must therefore have been written between 1580 and 1584.)
While in Athens, Alexander falls in love with the beautiful Theban captive, Campaspe. He grants the young woman her freedom, and has her portrait painted by the artist Apelles. Apelles quickly falls in love with her too; when the portrait is finished, he deliberately mars it to have more time with his sitter. Campaspe in turn falls in love with Apelles. When Apelles eventually presents the completed portrait to Alexander, the painter's behaviour reveals that he is in love with Campaspe. Alexander magnanimously resigns his interest in Campaspe so that the true love between her and Apelles can flower; he turns his attention to the invasion of Persia and further conquests.
Alexander also spends his time in Athens conversing and consorting with the philosophers of the era – most notably with Diogenes, whose famous tub is prominently featured onstage. Diogenes is little impressed with the conqueror. Aristotle and Plato share a conversation, and other philosophers appear as well. The play also features the witty pages that are a hallmark of Lyly's drama.
The play's prose style is heavily "euphuistic," sharing significant commonalities with Lyly's famous novel Euphues (1578). Notably, Apelles is a crucial figure in both works. This euphuistic style helps to support the view that Campaspe was Lyly's first venture at writing for the stage.
Lyly provides no moral or ethical lesson in his Campaspe — thereby breaking away from the morality play tradition of earlier drama. And unlike most of his subsequent plays, Campaspe eschews allegory as well. Instead, Campaspe delivers a romantic historical tale purely for its entertainment value. His departure from the Medieval mindset provided a model for later (and better) writers to follow. The play has been called "the first romantic drama" of its era.
5.Sapho and Phao is an Elizabethan era stage play, a comedy written by John Lyly. One of Lyly's earliest dramas, it was likely the first that the playwright devoted to the allegorical idealisation of Queen Elizabeth I that became the predominating feature of Lyly's dramatic canon.