Dr Eoin Price

Eoin arrived at Swansea from The Shakespeare Institute, where he completed a PhD on the politics of privacy and the public plays of Renaissance England and taught postgraduate distance-learning students.

Eoin has two main areas on research interest, both relating to Renaissance drama. He works on the intersections of politics, theatre, text and performance, in the sixteenth and seventeenth centuries and on the afterlife these plays have in the twenty-first century. In both his teaching and research he likes to challenge the cultural centrality of Shakespeare by attending to the wider Renaissance dramatic corpus.

His work on politics, culture, and theatre history has resulted in publications for The Map of Early Modern London and forthcoming work in Literature Compass, and he has a book, 'Public' and 'Private' Playhouses in Renaissance England: The Politics of Publication, emanating from his thesis, under contract with Palgrave. He is also a contributor to The Year’s Work in English Studies, reviewing editions and textual scholarship of non-Shakespearean Renaissance plays. He regularly reviews theatre for a range of journals including Shakespeare, Shakespeare Bulletin, and Reviewing Shakespeare and he serves as the UK Theatre Reviews editor for the Marlowe Society of America Newsletter.

He is currently working on a range of subjects including essays on disguised ruler drama, the politics of gardening, and a co-edited collection on drama, domesticity and political culture in early modern England. In 2016 he will co-chair a seminar on 'Reprints and Revivals' at the Shakespeare Association of America in New Orleans.

At Swansea he mostly teaches drama. In 2015/16 he will convene the first year module 'The Stage Play World', the second year module 'Shakespeare: Page, Stage, Screen', and the third year module '"Love, and a bit with a dog": Comedy in Renaissance England', although he also teaches on other subjects both inside and outside the Renaissance.


  • EN-114 Voices of Poetry

    'Voices of Poetry' is an engaging and exciting module which aims to introduce students to poetry and the various voices it articulates. Taught by well-known poets as well as scholars of poetry, this course will introduce students to a wide range of poetic forms and literary periods, ranging from the medieval lyric to postmodern poetry, from Shakespeare to Sylvia Plath. Particular attention will be paid to the interrelationship between meaning and form, and how rhetorical figures, metre, rhythm, tone, register and the speaker's voice create meaning. 'Voices of Poetry' will also foster an appreciation of how poetic forms are re-written in the socio-historical context in which they were produced.

  • EN-119 The Stage Play World

    The Stage Play World is an introductory module which combines an overview of performance history -- from classical Greek theatre to the present-day stage presentations -- with the development of reading and analytical skills. The module teaches students how to read and understand a stage script and then moves on to a consideration of how to analyse what is being read. The course also teaches students how to argue persuasively from that analysis. The module has been designed to emphasise the continuous development of drama, together with its links to social and historical events and to movements in other forms of art and literature. There are a number of set texts, with additional extracts that will be considered in lectures.

  • EN-242 Contentious Shakespeare

    Shakespeare is often figured as a universal writer who tells us something essential about the human condition; he has been imagined as both a national poet and the world¿s dramatist. But can Shakespeare really be universal? This module invites students to rethink many of the standard assumptions about Shakespeare. The writer Ben Jonson described as the `sweet swan of Avon¿ was also responsible for plays of horrifying violence and his drama reflects, in unsettling ways, on issues of gender, race, and class. Students will explore five controversial Shakespeare plays: Titus Andronicus, The Taming of the Shrew, The Merchant of Venice, Othello, and The Tempest. Lectures, seminars, and film screenings introduce the plays in all their disturbing complexity: Shakespeare emerges as a deeply equivocal presence in literary and theatrical history. Taking into account the important work of feminist and postcolonial criticism, this module addresses both the radical potential and the frequently conservative application of Shakespeare¿s plays.

  • EN-3031 Dissertation - English Literature

    The Dissertation is an optional, two-semester, 40-credit module designed to develop high-level academic skills and intellectual independence in the students. A first-semester skills-building programme will include: research skills, summary skills, bibliographic skills, ability to synthesise succinctly, planning and organisational skills, correct presentation of a thesis and bibliography, presentational skills and public speaking. Students conduct research on a subject of their choice, devised in consultation with a member of the English literature staff. The topic will be devised to fall within staff research and teaching specialisms, broadly defined. Students attend group sessions on research skills in Semesters 1 and 2, and have individual meetings with supervisors in Semester 2.

  • EN-3036 'Love, and a bit with a dog': Comedy in Renaissance England

    In Tom Stoppard¿s screenplay for Shakespeare in Love, Shakespeare¿s early comedy, The Two Gentlemen of Verona, is performed before the Queen. When the actor playing Launce is attacked by his unruly dog, Crab, the audience, hitherto unamused, break into laughter. Turning to a nonplussed Shakespeare, the theatre entrepreneur Philip Henslowe snorts, `You see¿comedy¿love, and a bit with a dog, that¿s what they want¿. This module will take the question ¿ what is comedy? ¿ seriously. Often, comedies are patronized when compared with tragedies, but comedies contain in them matters of importance, opening up questions of gender, politics, religion and morality. This module will encourage students to challenge preconceived ideas about comedies and to confront, head on, thorny critical issues, such as whether comedies ought to be funny, or whether they ought to end happily. Students will be asked to consider what it means to call a play a comedy; in doing so, they will explore some of the most audacious, inventive and controversial plays of the English Renaissance.

  • EN-3039 Renaissance Tragedy

    This module offers a window into the wild and wonderful world of Renaissance tragedy. From the elaborate metatheatricality of Kyd and Middleton to the `naked tragedy¿ of Arden of Faversham the plays on this module showcase the variety and mutability of this ancient dramatic genre. Students will be invited to consider the radical potential ¿ as well as the conservative impulse ¿ of Renaissance tragedy and they will ask what it is about these grim, gory, extraordinary plays that delight and please, as well as horrify and disgust. 1. Introduction: What is tragedy? 2. Thomas Kyd, The Spanish Tragedy 3. Christopher Marlowe, Doctor Faustus 4. Anon, Arden of Faversham 5. Elizabeth Cary, The Tragedy of Mariam 6. Thomas Middleton, The Revenger¿s Tragedy 7. William Shakespeare, Coriolanus 8. Francis Beaumont and John Fletcher, The Maid¿s Tragedy 9. John Webster, The White Devil 10. Thomas Middleton and William Rowley, The Changeling 11. John Ford, ¿Tis Pity She¿s a Whore

  • EN-M79 After Macbeth: Stage and Screen Adaptation

    This module begins in the seventeenth century and ends in the present day as it traces the stage and screen afterlife of Shakespeare¿s Scottish play. By turns familiar and strange, Macbeth is one of Shakespeare's most commonly performed plays yet it takes a horrible delight in the weird and the supernatural. Accordingly, the module invites students to consider the enduring strangeness of Macbeth as it has captured the imagination of writers, actors, and directors, in a variety of cultures and contexts, across the last four centuries. Whether revisiting the events of Shakespeare¿s play or continuing the narrative beyond the expected endpoint, the plays and films discussed in this module bear the marks of Shakespeare¿s Macbeth. Yet Shakespeare¿s Macbeth also bears the marks of Thomas Middleton, since it exists to us only in an adapted form. The study of adaptation is therefore necessary to the study of Macbeth as it offers continued ways of rethinking our most fundamental assumptions about Shakespeare and his place in contemporary culture.