Andrea Stevens
University of Illinois at Urbana-Champaign, English, Faculty Member
- Theatre Studies, Theatre, Drama, Shakespeare, Shakespeare in Performance, Ben Jonson, and 19 moreSkin and the Body, Medieval Studies, Renaissance drama, Early Modern English drama, Body in Performance, Performance Studies, Shakespearean Drama, Blackness, Thomas Middleton, Blackface, Blackface Queen, Winter's Tale, Theatre History, Early Modern English Literature and Drama, Christopher Marlowe, Early Modern Drama, Early Modern theatre studies, Early Modern Literature and Culture (Especially Drama)Theatre History, and English early modern Theatreedit
- Specializing in the drama of Shakespeare and his contemporaries, Andrea Stevens is an Associate Professor of English ... moreSpecializing in the drama of Shakespeare and his contemporaries, Andrea Stevens is an Associate Professor of English and Theatre at UIUC. She is the author of Inventions of the Skin: The Painted Body in Early English Drama (2013) and her edition of William Heminge's 1639 tragedy The Fatal Contract can be found in the Routledge Anthology of Early Modern Drama (2020). Right now she's working on two separate book projects: After Othello: Race, Disguise, and the Limits of the Stageable 1600 - 1800 and Agreement without Consensus: The Unearned Authority of Rhyme. Her performance-as-research includes dramaturgy and the adaptation of Shakespeare and early modern drama for contemporary performance.edit
The Spotting of Lady Conscience in The Three Ladies of London The allegorical figure of 'Usury' brings on stage a 'paynted boxe of incke' out of which Lady 'Lucre' paints the face of Lady 'Conscience', possibly in full view of the... more
The Spotting of Lady Conscience in The Three Ladies of London The allegorical figure of 'Usury' brings on stage a 'paynted boxe of incke' out of which Lady 'Lucre' paints the face of Lady 'Conscience', possibly in full view of the audience. The 'painted box' likely contained black face paint: by 1581, besmirching the face with black paint was a common method for signaling ugliness and moral corruption. In scripting this scenario from beauty to blackness, Wilson was invoking a complex performance tradition, from the symbolic use of blackface in late medieval drama, to the similarly symbolic use of blackness in Tudor interludes and morality plays, and finally to the use of blackface paint to signify racial difference in court masques and popular plays. This paper considers the dramatic analogues for this scene (in performances that both pre-and postdate The Three Ladies of London) before addressing how Wilson exploits the real-world religious, cultural, and medical associations of face paints to reinforce his allegorical narrative of the fall of Conscience.