DOCSLIB.ORG

Elizabethan Acting Companies, 1588-1594: Received Narratives and Historiographic Problems

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Elizabethan Acting Companies, 1588-1594: Received Narratives and Historiographic Problems ELIZABETHAN ACTING COMPANIES, 1588-1594: RECEIVED NARRATIVES AND HISTORIOGRAPHIC PROBLEMS A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Terence G. Schoone-Jongen, B. A. * * * * * The Ohio State University 2003 Master's Examination Committee: Approved by Dr. Thomas Postlewait, Adviser Dr. Alan Woods d~~~G Adviser Department of Theatre Copyright by Terence Guy Schoone-Jongen 2003 ABSTRACT Over the last century, the major studies of Elizabethan acting companies have all tended to operate under a variety of problematic assumptions. These assumptions are particularly evident in E. K. Chambers and W. W. Greg’s “amalgamation” hypothesis (which states that from 1590 to 1594 the Lord Strange’s and Admiral’s Men were joined as one company) and the various accounts of Pembroke’s Men. In this work, I have sought to mobilize all available evidence in an attempt to reconsider the received narratives about these companies, as well as the assumptions present in those received narratives. In the case of the “amalgamation,” a close study of the evidence reveals that there is little or no support for such a hypothesis, save that the hypothesis, if true, would support a number of traditional assumptions about provincial touring and acting company size. In fact, the surviving evidence actually appears to directly contradict the possibility of an “amalgamated” company. To date, the most thorough critique of the “amalgamation” hypothesis is Andrew Gurr’s “The Chimera of Amalgamation,” but here too several questionable assumptions are at work. I have identified some of these assumptions; I have also brought to bear other evidence and several considerations which Gurr’s argument does not deal with. The histories that have been written about Pembroke’s Men present a slightly different problem. Here, there is concrete evidence that such a company existed, but that evidence has been interpreted in many different ways. I have examined the various histories of Pembroke’s Men and pointed out the many assumptions that operate in each of these accounts. In identifying these assumptions, it becomes clear that, while scholars have become more and more sophisticated in their use of evidence, they have not become any more careful about their employment of assumptions. As a final component of this study, I have, based on the available evidence, compiled detailed itineraries for the acting companies active between 1584 and 1599. ACKNOWLEDGMENTS I with to thank my adviser, Thomas Postlewait, for his encouragement, guidance, and enthusiasm, all of which made this project possible, as well as his editting and proofreading, which made the end result bearable. Thanks is due to several people for offering feedback and encouragement on early versions of this thesis. Andrew Gurr offered several comments on an early draft of the paper which became my first chapter; Sally-Beth MacLean gave me a number of helpful hints while I was compiling what has become Appendix A; and Alan Woods suggested a number of useful emendations and clarifications. I owe particular thanks to Sally-Beth MacLean and all of the people at Records of Early English Drama (REED) at the University of Toronto who were willing to make time in their busy schedules to allow me to ask questions and rummage through the unpublished REED transcriptions. I would like to especially thank Elizabeth Baldwin, David Mills, John Coldewey, Peter Greenfield, Sally-Beth MacLean, Alexandra Johnston, Barbara Palmer, John Wasson, Diana Wyatt, and Jane Cowling, all of whom graciously gave me permission to cite their unpublished REED transcriptions. lV This project was made possible in part by a PEGS grant from the Ohio State University Department of Theatre. v VITA August 24, 1978 ............................................. Bom--Pipestone, Minnesota 2001 ................................................................ B. A., Communications Arts and Sciences, Calvin College 2001-present. .................................................. Graduate Teaching Associate, The Ohio State University FIELDS OF STUDY Major Field: Theatre VI TABLE OF CONTENTS Abstract ............................................................................................... .ii Acknowledgements .................................................................................. .iv Vita .....................................................................................................vi Chapters: 1. Introduction ......................................................................................... 1 2. An Imagined Company: The Problem of the "Amalgamation" .............................. 6 2.1 Introduction ..........................................................................6 2.2 The "Amalgamation" Hypothesis ................................................ 9 2.3 Against the "Amalgamation" Hypothesis ...................................... 16 2.4 The Evidence: Playing Notices ..................................................21 2.5 The Evidence: Suggestions of an "Amalgamation" ...........................27 2.6 The Evidence: In Opposition to the "Amalgamation" ....................... .33 2.7 A Further "Amalgamation" Difficulty: The Itineraries ...................... .40 2.8 Possible Precendents for an "Amalgamation" ................................ .45 2.9 The Feasibility of the "Amalgamation" ........................................ 54 2.10 Conclusion: Strange's and the Admiral's Men, 1589-1594 .................. 55 3. Pembroke's Men, 1592-93 ...................................................................... 59 3.1 Pembroke's Men: The Surviving Evidence .................................... 59 3.2 An Early Conjecture: Frederick Fleay .......................................... 72 3.3 Ghosts of the "Amalgamation" .................................................. 78 3.4 An Alternative Account: G. M. Pinciss and the Queen's Men .............. 94 3.5 A Turning Point: Simon Jewell's Will ......................................... 98 3.6 Syntheses I: Karl Wentersdorf and the Queen's ............................. 103 3.7 Syntheses II: David George and Strange's .................................... 113 3.8 Conclusion ........................................................................ 122 Vll Appendices: A. Company Itineraries, 1584-1599 ............................................................ 128 B. Potential "Amalgamations" ................................................................... 177 C. Ten Arguments for the Pembroke's company of 1592-93 ................................ 179 Bibliography ........................................................................................ 181 vm CHAPTER 1 INTRODUCTION Beginning with Edmond Malone and continuing up to the present, scholarship on theatre in Renaissance England has focused almost exclusively on London, with only occasional mention of provincial playing. In many ways, Frederick G. Fleay's A Chronicle History ofthe London Stage 1559-1642 (1890) set the terms for the study of Renaissance English theatre. Although Fleay's contemporaries and successors, particularly W.W. Greg and E. K. Chambers, devoted a great deal of their work to correcting his errors and assumptions, Fleay's focus on London playing remained virtually unquestioned. In particular, E. K. Chambers's The Elizabethan Stage offered a much more meticulous and accurate history of Renaissance English theatre, but, like Fleay, Chambers focused almost exclusively on London playing. Displacing Fleay, The Elizabethan Stage became the work which set the tone and terms for the study of Renaissance English theatre and remained so for years. In recent decades, primarily due to the Records of Early English Drama (REED) project, theatre activities outside London have received increasing attention. REED was launched in the mid-1970s; its goal has been to gather, compile, and publish all records of theatre activity throughout England from roughly the late medieval period to 1642. By extending the focus beyond London, REED provides a growing documentary record of provincial playing. Consequently, the historical significance and purpose of provincial 1 touring and playing is being reconceived by scholars. This trend is discernible not only in scholarship of each of the editors for the REED volumes, which are listed in my bibliography, but also in the work of several other scholars, including Peter H. Greenfield's "Touring" (1997), Andrew Gurr's The Shakespearian Playing Companies (1996), and Siobhan Keenan's Travelling Players in Shakespeare's England (2002). Increasingly, recent scholarship on Elizabethan theatre, even when focused on London, has investigated the activities of playing companies, including their touring records. Attending to the playing companies is of course not a new development. In the twentieth century, various scholars carried out major scholarship on the acting companies: J. T. Murray's The English Dramatic Companies, 1558-1642 (1910), Chambers's The Elizabethan Stage (1923), G. E. Bentley's The Jacobean and Caroline Stage (1941-68) and The Profession ofPlayer in Shakespeare's Time, 1590-1642 (1984), Muriel C. Bradbrook's The Rise ofthe Common Player (1962), and Andrew Gurr's The Shakespearian Playing Companies (1996) are especially notable. Gurr's The Shakespearian Playing Companies is particularly important, as it makes major headway in writing the history of the English Renaissance theatre from a perspective
Load more

Recommended publications
  • 1 CURRICULUM VITAE Theresia De Vroom Professor of English Director
    CURRICULUM VITAE Theresia de Vroom Professor of English Director, the Marymount Institute for Faith Culture and the Arts Editor, Marymount Institute Press Loyola Marymount University 711 16th Street One LMU Drive UH 3015 Santa Monica, CA 90402 LA, CA. 90045 310-458-0292 and 310-422-0810 310-338-2974 [email protected] EDUCATION Ph.D. 1988 English, University of Southern California M.A. 1982 English, Emory University B.A. 1980 English, University of Southern California B.M. 1980 Piano Performance, University of Southern California and the Julliard School 1976 Certificat, Fountainbleu School for Music, Paris. Nadia Boulanger, Leonard Bernstein, Julius Herford, and Robert Shaw, teachers and examiners. ACADEMIC EMPLOYMENT 2006-present: Director of the Marymount institute for Faith, Culture and the Arts and Editor, Publisher, and Founder of the Marymount Institute Press (2008-present) 2002-present: Full Professor, Loyola Marymount University 1996-2001: Associate Professor of English, Loyola Marymount University 2000-2002: Chair of Interdisciplinary Studies, the Marymount Institute 1995-2000: Director of the Honors Program, Loyola Marymount University 1989-1996: Assistant Professor of English, Loyola Marymount University 1988-1998: Visiting Assistant Professor of English, Loyola Marymount University 1987-1988: Visiting Assistant Professor of English, USC 1982-1987: Visiting Adjunct Professor of English, Occidental College PUBLICATIONS – Books Theresia de Vroom, The Lady Vanishes: Fantasies of Female Heroism in Shakespeare’s Last Plays. Los Angeles: Marymount Institute Press and Tsehai Publishers, 2014. ISBN 978-941392-10-2, 430 pp. Peer Reviewed. Theresia de Vroom, Netherlandic Plays from the Middle Ages: The “Abele Spelen” and Farces of the Hulthem Manuscript. Carleton Renaissance Drama Series 29, Dovehouse Editions, 1997.
    [Show full text]
  • THE ALCHEMIST THROUGH the AGES an Investigation of the Stage
    f [ THE ALCHEMIST THROUGH THE AGES An investigation of the stage history of Ben Jonson's play by JAMES CUNNINGHAM CARTER B.Sc., University of British Columbia, 196 8 A THESIS SUBMITTED IN PARTIAL FULFILMENT. OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of English We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October 1972 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver 8, Canada Date 27 QclAtt ii ABSTRACT THE ALCHEMIST THROUGH THE AGES An Investigation of the Stage History of Ben Jonson's Play This study was made to trace the stage history of The Alchemist and to see what effect theatrical productions can have in developing critical awareness of Jonson's dramatic skill in this popular play. Therefore an attempt has been made to record all performances by major companies between 1610 and 197 0 with cast lists and other pertinent information about scenery/ stage action and properties. The second part of the thesis provides a detailed analysis of four specific productions considered in light of their prompt books, details of acting and production, and overall critical reception.
    [Show full text]
  • Shakespeare's Use of Music
    T wit iloucr and his UTc , With • hay* *»iih a ^oearil ahaytoorir Wellesley College Library + er lacuna + no and j Uayv noruc nocuc no iafpnrgume.;;.i r rr r . ~1 __i __. _c t)i« oolyprcunngcuDCWi f*CCTC Y RFMjlM EDITH BUTLER POOL This book-plate was designed in 1909 s\i tSr fpringc in fpt ing birdHiof:ng t Hjyc loum louc by Edith Butler Pool (Class of 1896) for her library. p r p r It seems appropriate that it should be used to mark the books purchased for the Department of English Literature through her memorial bequest fpring. *Ln£3i!in$adn£. ij. fwrctc loom looc the *ijno|Cf?AA;]L 'mm- -mm JLiltQH OUJ, 14 % fcetwret>e the AVeti ofthe riev Wall a hav, ai* w a ho^nd a hiynonle no, Thdc prem* Coo itnc rooles would lie, Inlpf'in^ r»tnr,thcorcIy pffTucriftgdnc, WrwvB;'d>d »r ling, Inydinga ding i diof, Swrctc toucf>!oye t^ei^nng. | ThU CjtcII thcybr^an thathoure, i Sjy, Wiw wi:h a ho ah J a fuy noruc no# How that 3 liL v^aitnn ^nowcr, In Ipnng tiVn*, the onely prctae ring time, When Bird* doc (ing, hay ding a ding a dujg, S veetc lo jen louc rhefpnng. 4 Then prettir louert tike the time, a w ir!i With hay , a ho xnd* hay nonie no. Fortooets crowned with the primr, Infrwingtinic^beonelypraucnngtirre, When find* doc fine, hay ding a ding a ding. S wcetc lawcts iouc die fpiing. Digitized by the Internet Archive in 2012 with funding from Wellesley College Library http://archive.org/details/shakespearesuseo01long HAKESPEARE USE OF MUSIC: A ST THE MUSIC AND ITS IN THE TION OF SEVEN COMEDIES JOHN H.
    [Show full text]
  • War of Roses: a House Divided
    Stanford Model United Nations Conference 2014 War of Roses: A House Divided Chairs: Teo Lamiot, Gabrielle Rhoades Assistant Chair: Alyssa Liew Crisis Director: Sofia Filippa Table of Contents Letters from the Chairs………………………………………………………………… 2 Letter from the Crisis Director………………………………………………………… 4 Introduction to the Committee…………………………………………………………. 5 History and Context……………………………………………………………………. 5 Characters……………………………………………………………………………….. 7 Topics on General Conference Agenda…………………………………..……………. 9 Family Tree ………………………………………………………………..……………. 12 Special Committee Rules……………………………………………………………….. 13 Bibliography……………………………………………………………………………. 14 Letters from the Chairs Dear Delegates, My name is Gabrielle Rhoades, and it is my distinct pleasure to welcome you to the Stanford Model United Nations Conference (SMUNC) 2014 as members of the The Wars of the Roses: A House Divided Joint Crisis Committee! As your Wars of the Roses chairs, Teo Lamiot and I have been working hard with our crisis director, Sofia Filippa, and SMUNC Secretariat members to make this conference the best yet. If you have attended SMUNC before, I promise that this year will be even more full of surprise and intrigue than your last conference; if you are a newcomer, let me warn you of how intensely fun and challenging this conference will assuredly be. Regardless of how you arrive, you will all leave better delegates and hopefully with a reinvigorated love for Model UN. My own love for Model United Nations began when I co-chaired a committee for SMUNC (The Arab Spring), which was one of my very first experiences as a member of the Society for International Affairs at Stanford (the umbrella organization for the MUN team), and I thoroughly enjoyed it. Later that year, I joined the intercollegiate Model United Nations team.
    [Show full text]
  • Front Matter
    Cambridge University Press 978-1-107-00489-4 - The Two Gentlemen of Verona: Updated Edition Edited by Kurt Schlueter Frontmatter More information THE NEW CAMBRIDGE SHAKESPEARE general editor Brian Gibbons associate general editor A. R. Braunmuller, University of California, Los Angeles From the publication of the first volumes in 1984 the General Editor of the New Cambridge Shakespeare was Philip Brockbank and the Associate General Editors were Brian Gibbons and Robin Hood. From 1990 to 1994 the General Editor was Brian Gibbons and the Associate General Editors were A. R. Braunmuller and Robin Hood. THE TWO GENTLEMEN OF VERONA Professor Schlueter approaches this early comedy as a parody of two types of Renaissance educational fiction: the love-quest story and the test-of-friendship story, which by their combination show high-flown human ideals as incompatible with each other, and with human nature. A thoroughly researched, illustrated stage history reveals changing conceptions of the play, which nevertheless often fail to come to terms with its subversive impetus. Since the first known production at David Garrick’s Drury Lane Theatre, it has tempted major directors and actors, including John Philip Kemble, William Charles Macready and Charles Kean, who established a tradition of understanding which cast its shadow even on such modern productions as Denis Carey’s famous staging for the Bristol Old Vic and Robin Phillips’s for the Royal Shakespeare Company. This updated edition includes a new introductory section by Lucy Munro on recent stage
    [Show full text]
  • Michael West
    Theater of Enigma in Shakespeare’s England Michael West Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2017 Michael West All rights reserved ABSTRACT Theater of Enigma in Shakespeare’s England Michael West Theater of Enigma in Shakespeare’s England demonstrates the cognitive, affective, and social import of enigmatic theatrical moments. While the presence of other playgoers obviously shapes the experience of attending a play, I argue that deliberately induced moments of audience ignorance are occasions for audience members to be especially aware of their relations to others who may or may not share their bafflement. I explore the character of states of knowing and not-knowing among audience members and the relations that obtain among playgoers who inhabit these states. Further, I trace the range of performance techniques whereby playgoers are positioned in a cognitive no-man's land, lying somewhere between full understanding and utter ignorance—techniques that I collectively term “enigmatic theater.” I argue that moments of enigmatic theater were a dynamic agent in the formation of collectives in early modern playhouses. I use here the term “collective” to denote the temporary, occasional, and fleeting quality of these groupings, which occur during performance but are dissipated afterwards. Sometimes, this collective resembles what Victor Turner terms communitas, in which the normal societal divisions are suspended and the playgoers become a unified collectivity. At other times, however, plays solicit the formation of multiple collectives defined by their differing degrees of knowledge about a seeming enigma.
    [Show full text]
  • Christopher Plummer
    Christopher Plummer "An actor should be a mystery," Christopher Plummer Introduction ........................................................................................ 3 Biography ................................................................................................................................. 4 Christopher Plummer and Elaine Taylor ............................................................................. 18 Christopher Plummer quotes ............................................................................................... 20 Filmography ........................................................................................................................... 32 Theatre .................................................................................................................................... 72 Christopher Plummer playing Shakespeare ....................................................................... 84 Awards and Honors ............................................................................................................... 95 Christopher Plummer Introduction Christopher Plummer, CC (born December 13, 1929) is a Canadian theatre, film and television actor and writer of his memoir In "Spite of Myself" (2008) In a career that spans over five decades and includes substantial roles in film, television, and theatre, Plummer is perhaps best known for the role of Captain Georg von Trapp in The Sound of Music. His most recent film roles include the Disney–Pixar 2009 film Up as Charles Muntz,
    [Show full text]
  • Shakespeare As Literary Dramatist
    SHAKESPEARE AS LITERARY DRAMATIST LUKAS ERNE published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge cb2 1rp, United Kingdom cambridge university press The Edinburgh Building, Cambridge, cb2 2ru,UK 40 West 20th Street, New York, ny 10011-4211, USA 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Lukas Erne 2003 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2003 Printed in the United Kingdomat the University Press, Cambridge Typeface Adobe Garamond 11/12.5 pt System LATEX 2ε [tb] A catalogue record for this book is available from the British Library isbn 0 521 82255 6 hardback Contents List of illustrations page ix Acknowledgments x Introduction 1 part i publication 1 The legitimation of printed playbooks in Shakespeare’s time 31 2 The making of “Shakespeare” 56 3 Shakespeare and the publication of his plays (I): the late sixteenth century 78 4 Shakespeare and the publication of his plays (II): the early seventeenth century 101 5 The players’ alleged opposition to print 115 part ii texts 6 Why size matters: “the two hours’ traffic of our stage” and the length of Shakespeare’s plays 131 7 Editorial policy and the length of Shakespeare’s plays 174 8 “Bad” quartos and their origins: Romeo and Juliet, Henry V , and Hamlet 192 9 Theatricality, literariness and the texts of Romeo and Juliet, Henry V , and Hamlet 220 vii viii Contents Appendix A: The plays of Shakespeare and his contemporaries in print, 1584–1623 245 Appendix B: Heminge and Condell’s “Stolne, and surreptitious copies” and the Pavier quartos 255 Appendix C: Shakespeare and the circulation of dramatic manuscripts 259 Select bibliography 262 Index 278 Illustrations 1 Title page: The Passionate Pilgrim, 1612, STC 22343.
    [Show full text]
  • A Noise Within Study Guide Shakespeare Supplement
    A Noise Within Study Guide Shakespeare Supplement California’s Home for the Classics California’s Home for the Classics California’s Home for the Classics Table of Contents Dating Shakespeare’s Plays 3 Life in Shakespeare’s England 4 Elizabethan Theatre 8 Working in Elizabethan England 14 This Sceptered Isle 16 One Big Happy Family Tree 20 Sir John Falstaff and Tavern Culture 21 Battle of the Henries 24 Playing Nine Men’s Morris 30 FUNDING FOR A NOISE WITHIN’S EDUCATIONAL PROGRAMS IS PROVIDED IN paRT BY: The Ahmanson Foundation, Alliance for the Advancement of Arts Education, Supervisor Michael D. Antonovich, Employees Community Fund of Boeing California, The Capital Group Companies, Citigroup Foundation, Disney Worldwide Outreach, Doukas Family Foundation, Ellingsen Family Foundation, The Herb Alpert Foundation, The Green Foundation, Kiwanis Club of Glendale, Lockheed Federal Credit Union, Los Angeles County Arts Commission, B.C. McCabe Foundation, Metropolitan Associates, National Endowment for the Arts, The Kenneth T. and Eileen L. Norris Foundation, The Steinmetz Foundation, Dwight Stuart Youth Foundation, Waterman Foundation, Zeigler Family Foundation. 2 A Noise Within Study Guide Shakespeare Supplement Dating Shakespeare’s Plays Establishing an exact date for the Plays of Shakespeare. She theorized that authorship of Shakespeare’s plays is a very Shakespeare (a “stupid, ignorant, third- difficult task. It is impossible to pin down rate play actor”) could not have written the exact order, because there are no the plays attributed to him. The Victorians records giving details of the first production. were suspicious that a middle-class actor Many of the plays were performed years could ever be England’s greatest poet as before they were first published.
    [Show full text]
  • The Dramaturgy of Thomas Heywood 1594-1613 Carson, R
    The dramaturgy of Thomas Heywood 1594-1613 Carson, R. Neil The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author For additional information about this publication click this link. http://qmro.qmul.ac.uk/jspui/handle/123456789/1390 Information about this research object was correct at the time of download; we occasionally make corrections to records, please therefore check the published record when citing. For more information contact [email protected] THE DRAMATURGYOF THOMAS HEYWOOD 1594-1613 THESIS SUBMITTED FOR THE DEGREE OF DOCTOR JANUARY, 1974 OF PHILOSOPHY IN THE R. NEIL CARSON UNIVERSITY OF LONDON WESTFIELD COLLEGE I)IN 1 ABSTRACT This dissertation is an attempt to describe the characteristics of Thomas Heywood's dramatic style. The study is divided into three parts. The first deals with the playwright's theatrical career and discusses how his practical experience as actor and sharer might have affected his technique as a dramatic writer. The second part defines the scope of the investigation and contains the bulk of the analysis of Heywood's plays. My approach to the mechanics of playwriting is both practical and theoretical. I have attempted to come to an understanding of the technicalities of Heywood's craftsmanship by studying the changes he made in Sir Thomas Moore and in the sources he used for his plays. At the same time, I have tried to comprehend the aesthetic framework within which he worked by referring to the critical ideas of the period and especially to opinions expressed by Heywood him- self in An Apology for Actors and elsewhere.
    [Show full text]
  • English Professional Theatre, 1530-1660 Edited by Glynne Wickham, Herbert Berry and William Ingram Index More Information
    Cambridge University Press 978-0-521-10082-3 - English Professional Theatre, 1530-1660 Edited by Glynne Wickham, Herbert Berry and William Ingram Index More information Index Note: search under ‘London and Environs’; ‘Playing Companies’; ‘Playhouses’; and ‘Stage Characters’ for individual entries appropriate to those categories. Abell, William (alderman), 586 Andrews, Richard (player), 245 Abuses, 318 Anglin, Jay P., ‘The Schools of Defense’, Acton, Mr (justice of the peace), 158 296 Actors. See Players Anglo, Sydney, 20; ‘Court Festivals’, 291 Adams, John (player), 300 Annals of England. See Stow, John Adams, Joseph Quincy, Shakespearean Playhouse, Anne, Queen, 119, 122, 125, 513–14, 561, 562, 550n, 597n, 626n; Dramatic Records of Sir 564, 580, 625, 630–1; her company of Henry Herbert, 581, 582, 582n players, see Playing Companies Admiral, Lord. See Lord Admiral Apothecaries, 388, 501 Admiral’s players. See Playing Companies Arber, Edward, 192 Aesop, 171 Archer, George (rent gatherer), 611n Agrippa, Henry Cornelius (writer), 159 Arches, Court of the, 292, 294n, 312 Alabaster, William (playwright), 650 Ariosto, Ludovico, I Suppositi, 297n Aldermen of London. See London Armin, Robert (player and writer), 123, 196, Alderson, Thomas (sailor), 643 197, 198; Foole vpon Foole, 411–12 All Hallowtide, 100 Army Plot, The, 625, 636 All Saints Day, 35 Arthur, Thomas (apprentice player), 275–7 Allen, Giles, 330–2&n, 333–6&n, 340, 343–4, Arundel, Earl of (Henry Fitzalan, twelfth Earl), 346–7, 348, 352, 355, 356–7, 367–72, 372–5, 73, 308; his company
    [Show full text]
  • Shakespeare's Shrew: Orthodoxy and Carnival
    Shakespeare's Shrew: Orthodoxy and Carnival by Paulo Lufs de Freitas Drama Department Goldsmiths College Thesis submitted in fulfilment of the requirement for the degree of Doctor of Phflosophy in the University of London 2001 2 Abstract Although the Shakespearean comedies have been analysed as festive plays, and more recently even his historical plays and tragedies have been viewed in the light of Bakhtin's theory of Carnival and the carnivalesque, The Taming of the Shrew has been systematically ignored. It would appear that this situation is a result of the misogynist issues the play raises. In seeing The Taming of the Shrew as a carnivalized drama in addition to the other Shakespeareanplays already placed in this category, the aim of this thesis is to show that this early comedy is perhaps even more representative of what Bakhtin termed as carnivalized literature than any other play to be found in Shakespeare's canon. This, I would suggest, is related to the intertextual qualities of a text which has interwoven in its three-plot structure popular oral tradition, elements of the Italian commedia, and the domestic clowning conventions. All these three elements are saturated with a system of images appropriate to the culture of Carnival. As a result of this, the text goes deeply into the Carnival grotesque realism described by Bakhtin. Seeing the play form as dialogic in the same way as the Bakhti-nian polyphonic novel is, I argue here that The Taming of the Shrew is a dialogue of voices, in which the patriarchal one is dominant. However, the patriarchal voice is not the only one to be heard.
    [Show full text]