Acknowledgements

Warm thanks goes to my thesis advisor, Joanna Picciotto, and the Program in Theater and Dance for encouragement and enthusiasm for this project; to Pat Rader, the Dolmetsch Historical Dance Society, and the Rendance email discussion list for helping me interpret Renaissance court dance manuals; to Scott Perkins for his aid in editing, the friends and family who have endured my unsolicited lectures on Renaissance court dance, and to Professor Michael Goldman who initially encouraged me to dive into the unchartered waters of Shakespearean dance.