In 2002, writing eloquently and passionately against Adrian Noble's plan to dismantle the Royal Shakespeare Company's repertorial structure, Miriam Gilbert was particularly concerned that the loss of plays performed in repertory would seriously weaken the intensity of an audience's experience with those plays.
What is it about repertorial theater that prompts such cries of passion and loss?
We believe that this lies at the heart of our investigation: the transgression presupposed by the incorporation of new models by Enlightened women represents a complex dialectic between the new repertorial elements and those that were dominant.
Some examples of the re-utilization of dominant repertorial norms with a view to advancing new programmatic elements are given below.
This complex argument is based upon a masterful synthesis of historical, liturgical, and repertorial
Closest to the lost repertorial
holdings are four manuscripts that Hill speculates were copied by Francesco Maria Fucci, after Montalto's death, from sources Montalto had owned; three of these were little known until now, and there is much new material on the fourth.
One consequence of this repertorial
orientation is an emphasis on musical works as finished products available for introspection and individual contemplation.
William Byrd: Gentleman of the Chapel Royal marks something of a break with recent tradition: while many of its chapters represent a synthesis of recent repertorial
scholarship, its greater significance lies in the attention given to Byrd's life and career, the new and important details author John Harley has unearthed, and the implications these revisions might have in the reassessment of Byrd's works and their chronology.
The second part presents repertorial
studies of the Proper tropes, and the third provides inventories and indexes to the two sources.