English Literature & Creative Writing
Telephone: (01792) 295780
Room: Office - 214
Second Floor
Keir Hardie Building
Singleton Campus

Eoin Price book coverI am a Lecturer in English Literature specializing in the politics of playing and playgoing in sixteenth-and seventeenth-century London and in the afterlives of plays from this period in later centuries including our own. I am the author of ‘Public’ and ‘Private’ Playhouses in Renaissance England (Palgrave, 2015) and I am currently co-editing a collection of essays entitled English Renaissance Drama and the Politics of Domesticity for Manchester University Press. My next solo-project, Early Modern Drama and the Jacobean Aesthetic,queries the entrenched association of Jacobean theatre with lurid violence. In 2018 I received a Harry Ransom Center Research Fellowship to undertake archival work on this project. My work has also been recognized by my university, who have named me as one of seven Florence Mockeridge fellows.

I am actively involved with several major academic societies. I am the principal organizer of the 2019 British Shakespeare Association Conference which will take place at Swansea’s Singleton campus in July 2019. I am also a council member of the Society of Renaissance Studies for whom I act as the Welsh Representative and I am the theatre editor of the Marlowe Society of America Newsletter.

Areas of Expertise

  • Renaissance drama
  • Jacobean drama
  • Shakespeare
  • Theatre history
  • Book history


  1. 'Public' and 'Private' Playhouses in Renaissance England: The Politics of Publication. Basingstoke: Palgrave.
  2. 'The Politics of Privacy and the Renaissance Public Stage'. Literature Compass 12(7), 311-321.
  3. The Future Francis Beaumont. Early Theatre 20(2)
  4. Modernizing Metatheatre in the RSC's A Mad World My Masters. Shakespeare Bulletin 36(1), 131-139.
  5. Teaching and Learning Guide for: ‘The Politics of Privacy and the Renaissance Public Stage’. Literature Compass 12(9), 497-498.

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  • 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: The Taming of the Shrew, Titus Andronicus, The Merchant of Venice, Othello, and The Tempest. Lectures and seminars introduce the plays in 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-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-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.

  • EN-M80 Practising Ideas: Advanced Research Skills in English / Contemporary Writing / Welsh Writing in English



  • Women, Empowerment and the Natural World in Medieval Literature 1200-1500.«br /» (current)

    Student name:
    Other supervisor: Dr Roberta Magnani
    Other supervisor: Dr Eoin Price
    Other supervisor: Prof Liz Herbert Mcavoy