English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

The English word ‘mountebank’, borrowed from the Italian  montimbanco  to describe a performing quack doctor, crucially defines its subject in terms of motion in space: the motion of ascending a stage. In fact, the early modern mountebank in London was a player known for many kinds of motion—geographical itinerancy, rhetorical circumlocution, and even appropriative journeys from bank to theatre to print. This article articulates the mountebank’s license to roam physically and representationally across London as a kind of theatrical vagrancy, one that begs the question not only of where theatre can exist in urban space, but  how —how a physically and rhetorically unfixed performance can still be recognised by an audience  as  a performance. Playing with and across space, as this article argues, is perhaps one of the most crucial of the mountebank’s many ‘impossible’ feats.

Performances ‘in No Other City Possible’: Mountebanks and Theatrical Vagrancy in Seventeenth-Century London