Editorial

Within the pages of this issue, readers will find insightful arguments and inspiring research about plays ranging from the fifteenth century to the seventeenth.These pieces exemplify the broad perspective on early theatre that is a founding principle of this journal.The first three articles centre on examples of fifteenth-century drama, and each is particularly concerned with how we might better understand the relationship between text and performance.Ann Hubert considers how the Digby Conversion of St Paul manifests onstage the title character's interior spiritual transformation through its representation of his preaching and through the sermon-like speeches of the character Poeta.The play and the medieval sermon tradition thus become linked as rhetorically sophisticated texts that teach about the mechanisms of religious change.Elza C. Tiner discusses what the varied forms of language in Thomas Chaundler's Latin play Liber apologeticus indicate about likely performance at New College, Cambridge.Her consideration of the ante-chapel and the bishop's palace at Wells as possible performance spaces persuasively imagines how such a structure could be used for playing.Lloyd Edward Kermode analyzes the significance of two surviving accounts of the city of York's 1486 entertainment for King Henry VII as evidence of the potentially subversive power dynamics at play in civic pageantry.In the process, he argues that written texts, including the verses written for performance and accounts written for posterity, were of as much interest to early players, producers, and audiences as they are to today's literary critics.A fourth article and the note that follows are studies of plays with little in common in terms of subject matter.Yet together, these two pieces indicate the impact of the past on London's commercial stages.Misha Teramura identifies the fifteenth-century military leader John Hunyadi as the probable subject of the lost play Vayvode, performed by the Admiral's Men in 1598.By focusing on this individual's battles with the Ottoman Turks, the play does not just represent historical events onstage but comes into dialogue with an older but still popular play in the Admiral's Men repertory, Marlowe's Tamburlaine.Miryana Dimitrova's note looks even farther into

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