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Cambridge University Press 978-0-521-19250-7 - Actors and Acting in Shakespeare’s Time: The Art of Stage Playing John H. Astington Index More information Index acting companies, 6 amateur players, 9, 60, 68, 136 Admiral’s, 97, 110, 111, 112, 117, 121, 127, 137, 185 Children of the Chapel, 53, 134 Chamberlain’s, 88, 112, 114, 119, 121, 127, 156, Paul’s Boys, 51, 54–5, 58, 62, 176 177, 185 apprentices, 1, 56, 76–107, 116, 144, 146, 149, 154, Children of the Queen’s Chamber of Bristol, 91 155, 174, 184 Children of the Queen’s Revels, 55, 91, 115 Armin, Robert, 86, 105 Children of the Revels (1629), 93 Arthur, Thomas, 186 Derby’s, 83 Belt, Thomas, 100 King and Queen of Bohemia’s, 144 Betterton, Thomas, 83 King and Queen’s Young Company (Beeston’s Birch, George, 100, 131 Boys), 94 Bowyer, Michael, 89, 104 King’s, 3, 4, 11, 35, 65, 78, 83, 85–6, 87, 92, 93, Bristow, James, 97, 104 98, 101, 104, 108, 114, 115, 123, 124, 125, 126, Cane, Andrew, 104 129, 131, 132, 134, 135, 137, 138, 156, 160, 161, Cook, Alexander, 100 173, 180, 184 Gough, Alexander, 98, 160, 169 King’s Revels, 94 Gough, Robert, 128 Leicester’s, 88 Hammerton, Stephen, 98, 104 Oxford’s, 53 Heminges, John, 105 Pembroke’s, 97 Holcombe, Thomas, 88 Prince Charles’s (II) (1631–42), 83, 95, 143, 160 Honeyman, John, 88, 98–9, 160, 167 Queen Anne’s, 92 Kynaston, Edward, 174 Queen Henrietta’s, 92, 95, 102, 179 Mannery, Samuel, 145, 154 Queen’s, 86, 175, 177 Pallant, Robert, 100, 132 Strange’s, 121, 127 Pollard, Thomas, 85 touring, international, 8, 96, 180 Risley, John, 80, 107 touring, provincial, 8, 79, 90–3, 96, 104, Saville, Arthur, 106, 145, 151, 155 137, 186 Sharpe, Richard, 100, 103, 132, 135 Worcester’s, 181 Stole, Robert, 79 actors Tarlton, Richard, 86 as colleagues, 8, 88, 98, 104, 129, 160, 162, 185 Thompson, John, 88, 98–9, 100, 132, 159–60, as instructors, 1, 5, 20, 46, 78, 87, 88, 94, 95, 96, 161, 163, 169, 172 99, 102, 107, 136 Tooley, Nicholas, 85 foreign, 122, 123 Trigge, William, 94, 98, 160 hired men, 8, 82, 83, 126, 127, 146, 159, 184 Wilson, William, 89, 137 principal, 8, 78, 95, 99, 108, 126, 135, 136, 144–5, Wright, John, 105, 145, 151–3 158–9, 169, 188–224 apprenticeship, 3, 48, 77, 79, 85, 86, 94, 101, 102, Agate, James, 133 103, 105, 106, 145, 152, 156, 183, 185 Allen, William, 138 Aristotle, 25 Alleyn, Edward, 1, 5, 6, 8, 9, 85, 97, 101, 106, Armin, Robert, 82, 86–7, 88, 114, 118, 123, 125, 184 108–13, 114, 116, 117, 121, 127, 128, 163, 171, art, of playing, 3, 6, 7, 10, 13, 18, 32, 37, 45, 80, 83, 175, 176–7, 179–80, 183, 184, 188 107, 122, 139, 174, 177, 185 242 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19250-7 - Actors and Acting in Shakespeare’s Time: The Art of Stage Playing John H. Astington Index More information Index 243 audience, 4, 13, 15, 17, 21, 23, 27, 28, 31, 32, 34, 36, 43, Campion, Thomas, 69 47, 51, 55, 66, 67, 70, 71, 72, 75, 89, 102, 104, Cane, Andrew, 82, 84, 88, 95, 98, 106, 144, 145, 109, 110, 113, 114, 115, 119, 121, 123, 130, 132, 133, 146, 149, 155 148, 149, 150, 152, 156, 157, 162, 163, 164, 167, careers, of actors, 9 168, 170, 172, 175, 178, 179, 180, 181, 185, 186 caricature, 19, 21, 120 onstage, 158, 165 Cartwright, William, playwright, 65 audition, 68, 104, 184 Cartwright, William, the younger, actor, 33, 83 Augustine, William, 97 cast lists, 98, 118, 126, 130, 132, 143, 158 casting, 62–5, 72, 73, 119, 120, 127–8, 134, 142, Baldwin, T. W., 108 146–7, 158, 161, 173, 180 Bale, John, 43 Cecil, William, 65 Baskerville, Susan, 144 Chapman, George, 58, 74, 110 Baxter, Richard, 37 character, playing of, 4, 13, 16, 24, 28, 31, 103, 108, beard, stage, 111 116, 121, 141, 148, 155, 162, 166, 187 Beaumont, Francis, 9, 36, 38, 69, 74, 131 characteristics, of actors, 4–6, 24, 41, 100, 116, 129, Beeston, Christopher, 92, 94, 102, 118 130, 167 Beeston, William, 95 characters, dramatic, 150 Beeston’s Boys. see King and Queen’s Young Achilles, 21 Company Aeneas, 17 Benfield, Robert, 100, 126, 135 Amoretto, 67 Bentley, G. E., 95 Andromache, 45 Bentley, John, 179 Antony, 158 Betterton, Thomas, 130 Ariel, 30 binding, of apprentices, 78, 79, 80, 94, 106 Arostus, 72 Bird, Theophilus, 83, 95, 101, 174 Autolycus (Winter’s Tale), 11 Blagrave, William, 93 Beatrice, 14 Boccaccio, 63 Benedick, 14 body, of performer, 13, 20, 26, 28, 35, 36, 62, 81, Bianca, 22 103, 120, 141 Bosola, 133 Bond, Thomas, 84, 144, 146, 151, 153, 185 Bottom, 26, 141 Bowers, Roger, 50, 51 Bullingbrook, 32 Bowyer, Michael, 89–92, 137–9 Burbage, 68 boys, as actors, 4, 8, 10, 24–5, 26, 35, 41, 43, 49–50, Capritio, 151, 152 52, 54–5, 57, 62, 98, 102–3, 104, 116, 147, 149, Claudio, 15 155, 159–60 Claudius, 15, 34 Brome, Richard, 95 Cleopatra, 25 brotherhood, 79, 84 Cokes, 12 Browne, Robert (1), (d. 1603), 83, 106 Cordelia, 16 Browne, Robert (2), 181 Coriolanus, 28 Browne, Robert, haberdasher, 84 Costard, 118, 141 Browne, William, 83, 97, 144, 146, 150, 185 Doctor Faustus, 171 Bryan, George, 128 Dogberry, 1 Bull, John, 48 Domitia, 173 Burbage, James, 2, 7, 175, 193 Domitian, 157, 159 Burbage, Richard, 2, 5, 8, 11, 23, 29, 32, 37, 82, 83, Domitilla, 166 85, 101, 112, 114, 115, 116–17, 127–30, 131–3, Don Pedro, 15 176, 184, 193 Dromo, 124 character, 176 Earl of Warwick, 14 Byrd, William, 48, 50 Edgar, 33 Edgar/Poor Tom, 14 Cambridge, University, 38 Eubulus, 72 Clare College, 73 Evadne, 131 Queens’ College, 66 Falstaff, 9, 14, 19, 113, 180 royal visits, 60 Ferdinand, 134 St. John’s College, 62, 63, 64, 67 Feste, 24, 119, 186 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19250-7 - Actors and Acting in Shakespeare’s Time: The Art of Stage Playing John H. Astington Index More information 244 Index characters (cont.) Queen Margaret, 15 Feste/Sir Topas, 14 Quince, 98 First Clown, 119 Ralph, 9, 77 Flute, 26 Silvia, 19 Fool, 119 Skink, 111 Friar Bacon, 117 Snarl, 148 Fungoso, 148 Studioso, 68 Gloster (Look About You), 111 Stupido, 67 Goneril, 22 Swainwit, 95 Grocer’s Wife, 41 Talbot, 177 Gullio, 67 Tamburlaine, 163 Hamlet, 13, 15, 31, 34, 36, 45, 118, 186 Theseus, 14, 31 Hans Stockfisch, 124 Touchstone, 119 Hanswurst, 124 Trimalchio, 151, 152 Harlequin, 122 Triphoena, 148, 150 Hieronimo, 33 Ulysses, 21 Hippolyta, 31 Viola, 13, 17, 27 Holofernes, 30 William, 118 Honesty, 177 Zeal-of-the-Land Busy, 12 Iago, 13, 28 characters, fictional Ingenioso, 67 Hecuba, 13, 16 Julia, 31 Yorick, 119 Julia/Sebastian, 19 Charles I, King, 65 Kemp, 68 Chaucer, 64 King Henry V, 29, 128 choirmasters King Henry VI (Seven Deadly Sins), 128 Edwardes, Richard, 49 King Lear, 21 Farrant, Richard, 48–9 King Richard II, 32 Giles, Nathaniel, 52, 55 King Richard III, 158 Giles, Thomas, 49, 54, 55 Leatherhead, 12 Hunnis, William, 48, 53, 93 Leonato, 15 Pierce, Edward, 49 Lord, 26 Redford, John, 49 Macbeth, 31, 158, 170 Westcott, Sebastian, 49–50, 51–2, 93 Madido, 67 choirs, 52–3 Malvolio, 14, 180 Chapel Royal, 42, 48, 52, 55 Margery, 150 players in, 10, 40, 50, 52–3 Miscellanio, 151 St Paul’s, 42, 49, 50, 54–5 Mistress Overdone, 154 training in, 52 Moth, 20, 30 Christmas prince, 61, 70, 71 Old Shepherd, 25 Cicero, 23, 40, 45–7 Olivia, 24, 27 De Oratore, 44 Othello, 13, 158 citizenship, of London, 77 Painter, 33 civil wars, England (1642–8), 8, 37, 174, 183 Paris, 158, 159, 172 Clavell, John, 98 Patroclus, 21 Clay, Nathaniel, 90, 91, 137 Philander, 72 Colet, John, 42 Philautus, 148 comedian, 27 Philomusus, 68 comedy, 63, 120 Philostrate, 187 commedia dell’arte, 117, 122 Pistol, 9, 127, 176 community Player Queen, 20 college, 60, 61, 62, 63, 66 Polonius, 20, 45 legal, 69, 70, 73 Prince Hal, 180 musical, 48 Prospero, 30 other, 9 Quartilla, 148, 150 theatrical, 8, 77, 79, 145, 185 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19250-7 - Actors and Acting in Shakespeare’s Time: The Art of Stage Playing John H. Astington Index More information Index 245 companies, London, 3, 106, 145, 185 musical, 47, 69 Drapers’, 78, 82 universities, 1, 67–8 Dyers’, 98 Edwards, Richard, 64 Founders’, 146 Elizabeth I, Queen, 40 Goldsmiths’, 146 Elizabeth, Princess, 74, 181 Great Companies, 43 emotion, playing of, 15–18, 20, 103, 140, 167, 187 Grocers’, 4, 100, 105 ensemble playing, 129–30, 142, 151, 152, 153, 172 Ironmongers’, 94 entertainments, household, 6, 61, 66, 74, 122 Joiners’, 82 royal, 48 Mercers’, 42 Erasmus, 39 Merchant Taylors’, 82, 101, 106, 146 Evans, Henry, 53, 56 Shoemakers’, 76 exercises, educational, 40, 46, 58 Weavers’, 78, 86 Condell, Henry, 128, 130, 132, 134 face, of actors, 11, 26, 27, 32, 35, 36, 46, 68, 103, 111, character, 115 124, 169, 180 contest, acting, 9, 113–14 vultus, 23 contracts, 94, 97 families, 69, 77, 79, 82, 104, 105, 106, 182 costume, 35, 106, 110, 111, 125, 127, 155, 157, 166, actors’, 3, 83–4, 102, 152, 183, 192, 193 169, 172, 183 artistic, 83–4 courtship, playing of, 168 fees, to Revels Office, 136 covenant servants, 95, 186 Fenn, Ezekiel, 95 Cowley, Richard, 128 Fennor, William, 113 criticism, of theatre, 12–13, 36, 65, 74, 162 festivals, 42, 51, 61, 73, 74 critique, of performance, 10 Field, Nathan, 53, 56, 115, 129, 130, 135, 182, 197 cross-dressing, 13, 106 Fletcher, John, 38, 61, 131 Folio, edition of Shakespeare, 119, 134, 180 dance, 73, 88, 120, 122, 123 Fouch, Richard, 146, 151, 153 Daniel, John, 91 Fowler, Richard, 84, 144, 176 Daniel, Samuel, 65 Fraunce, Abraham, 70, 71, 73 See also university Davenant, William, 108, 130, 174 actors Davenport, Robert, 138 Davies, John, 135 Gager, William, 65 Dawes, Robert, 183 Germany, 123, 181 deceit, and performance, 13, 27, 28, 36 Gerschow, Frederick, 56 Dekker, Thomas, 76 gesture, 21, 22, 32, 35, 40, 44, 45, 47, 89, 103, 120, D’Ewes, Simonds, 69 148, 181 dialogues, Latin, 39, 46 Gibbons, Orlando, 48 Diderot, Denis, 13 Glapthorne, Henry, 95 discovery, 169 Godwin, Robert, 145, 150 disguise, 110–12, 131 Gough, Robert, 99 documents, theatrical, 126 Gradwell, Henry, 145, 148 Donne, John, 69 grammar, Latin, 38 doubling, 124–6, 159, 169, 171, 172 Greek, plays, 62 Downes, John, 130 Greek, study of, 39 Dryden, John, 96 Greene, Thomas, 38, 83 Dudley, Robert, 71 Greg W.
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  • 1 1 Representing Zama to Create an Iconic Event Frances Billot

    1 1 Representing Zama to Create an Iconic Event Frances Billot

    1 Representing Zama to create an iconic event Frances Billot University of Auckland [email protected] The Hadrianic author Florus describes the battle at Zama1 in 202BC as the most important battle in Roman history; Scipio and Hannibal are considered two of the greatest generals of all time, one for conquering Italy, the other for Spain: non fuit maior sub imperio Romano dies quam ille, cum duo omnium et antea et postea ducum maximi duces, ille Italiae, hic Hispaniae victor, conlatis comminus signis direxere aciem (Florus, 1.22.58).2 In the time before the Roman empire there was no greater occasion than when the two generals, better than any before or since, the one the conqueror of Italy, the other of Spain, brought their armies together for pitched battle.3 To consider why Florus singles out Zama, Scipio and Hannibal from all the options available to him, this paper compares how three earlier authors who covered the story of the Second Punic War, Polybius, Livy, and Silius Italicus, present the battle at Zama in their texts (other authors, such as Appian and Cornelius Nepos, are drawn on where they help illustrate a point). All three authors treat the battle at Zama as the climactic event of, or grand finale to, the Second Punic 1 Cornelius Nepos (Hann. 6) gave the battle its familiar title, Zama; Silius Italicus uses the same name, Pun. 3.261. For Scipio and Zama, see Scullard (1970) 140-160; Goldsworthy, (2001) 286-309. 2 Florus Epitome of Roman History, Loeb edn. (Cambridge, Mass. 1995). Latin and Greek quotations are taken from the Loeb editions (giving details) unless indicated otherwise.
  • Copyright by Stephen Mark Caffey 2008

    Copyright by Stephen Mark Caffey 2008

    Copyright by Stephen Mark Caffey 2008 The Dissertation Committee for Stephen Mark Caffey certifies that this is the approved version of the following dissertation: An Heroics of Empire: Benjamin West and Anglophone History Painting 1764-1774 Committee: Susan Rather, Co-Supervisor Janice Leoshko, Co-Supervisor Michael Charlesworth Mia Carter Syed Akbar Hyder William Roger Louis An Heroics of Empire: Benjamin West and Anglophone History Painting 1764-1774 by Stephen Mark Caffey, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2008 For Patricia Burnham Acknowledgments I wish to thank the following individuals for their generous support, without which this dissertation would have never materialized. I cannot articulate the magnitude of my appreciation of and admiration for co-supervisors Susan Rather and Janice Leoshko. They made a perfect team, gently guiding me back to the track when I derailed and offering just the right blend of criticism and encouragement. Committee members Michael Charlesworth, Akbar Hyder, Mia Carter and William Roger Louis brought a wealth of experience and expertise that helped me to broaden and deepen the scope of the project. I also benefited greatly from coursework and conversation with John Clarke, Penelope Davies, Joan Holladay, Estelle Lingo, Richard Shiff, Ann Reynolds, Linda Henderson, Cherise Smith, Steve Bourget and Persis Berlekamp. I am especially grateful to Neil Kamil, for so warmly welcoming me across campus and across disciplines; to Jeffrey Chipps Smith, whose well-timed dinner invitation in London spared me the ravages of malnutrition; and to Glenn Peers, whose sympathetic ear and calm optimism served as beacons of hope when I felt discouraged.