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The Dramaturgy of Female Gender in Early Modern English Theatre

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The Dramaturgy of Female Gender in Early Modern English Theatre The Dramaturgy of Female Gender in Early Modern English Theatre: An Investigation of the Theatrical Expression of Gender in Selected Jacobean Plays, Their Restoration/Early Eighteenth-Century Adaptations, and Their Original and Contemporary Staging By Lori Beth Leigh A thesis submitted to the Victoria University of Wellington in fulfillment of the requirements for the degree of Doctor of Philosophy in Theatre Victoria University of Wellington 2012 P a g e | ii Abstract The adaptations of Shakespeare‘s plays that were written and staged during the English Restoration and eighteenth century form an important part of the performance history of Shakespeare; yet they have never been employed in research on the female characters in the original plays. This thesis analyzes four late Shakespeare plays and their adaptations: The Two Noble Kinsmen (with Fletcher) and Davenant‘s The Rivals; The Tempest and Davenant and Dryden‘s The Enchanted Island; The Winter‟s Tale and Garrick‘s Florizel and Perdita; and the lost Cardenio (also with Fletcher) and Theobald‘s Double Falsehood. Investigating the dramaturgy of the female characters from a theatrical point-of-view that includes both a close- reading and imagining of the text with a ―directorial eye‖ and practical staging work, this study examines not only language but the construction and representation of character through emotional and physical states of being, gestures and movement, sound (music and the sound of speech), props, costumes, spectacle, stage directions, use of space and architecture, and the audience. The adaptations have been used as a lens to encounter afresh the female characters in the original plays. Through this approach, I have discovered evidence to challenge some traditional interpretations of Shakespeare‘s female characters and have also offered new readings of the characters. In addition, I have demonstrated the danger of accepting the widely held critical view that the introduction of actresses on the Restoration stage prompted adaptors to sexualize the female roles in a demeaning, trivial, and meretricious manner. In fact, female roles in the Restoration had some power to subvert gender boundaries just as they did in the Renaissance when played by boy actors. This work explores the treatment of themes and motifs that recur around the staging of women in the early modern period such as madness, cross-gender disguise and cross-gender casting, rape and sexual violence, and the use of silence by female characters. Each chapter draws individual conclusions about the female characters in the plays, often drawing parallels between two central women in particular play. Overall, the thesis demonstrates the complexity and multiplicity of the ways the women in Shakespeare‘s plays express their agency and desire. P a g e | iii Acknowledgments Shakespeare, cross-gender acting and feminism have always been interests of mine. I first became interested in Restoration and eighteenth-century adaptations of Shakespeare when in 2009 David Carnegie invited me to be his assistant director for the world premiere of The History of Cardenio by William Shakespeare and John Fletcher, recreated by Gary Taylor at Victoria University of Wellington. Therefore, I wish to express my sincere gratitude to Gary Taylor, Terri Bourus, Tiffany Stern, Valerie Wayne, Huw Griffiths, Matthew Wagner, all the members of the 2009 Cardenio Colloquium arranged by David Carnegie, and the student actors enrolled in Dr. Carnegie‘s paper who participated in our process and production. I was able to express and test many of my initial ideas in this colloquium and production process. I wish to acknowledge the generous financial support I have received, primarily a New Zealand International Doctoral Research Scholarship granted by Education New Zealand and funded by the New Zealand Government. This scholarship paid full tuition fees for full-time doctoral study and without this funding I would not have been able to undertake my doctorate. In addition, I am grateful to Victoria University of Wellington for financial assistance. At Victoria University of Wellington, I was fortunate enough to be surrounded by a supportive staff and colleagues who assisted in organizing my practical work, took care of administrative tasks related to this thesis, and offered valuable feedback when I presented work at the university (David O‘Donnell, Geoff Miles, Lindy Hardy, David Norton, Claire O‘Loughlin, Peter Whiteford, to name just a few). I owe a special thank you to Kathryn Walls who is in many ways responsible for getting me to New Zealand. My major debt, however, is to my primary supervisors, Dr. David Carnegie and Dr. Megan Evans, who have read numerous drafts of this thesis, offered advice and support, and who have exhibited nothing but unwavering confidence in this project and my abilities from the beginning. They have gone above and beyond what should be expected of any supervisor and will forever have my profound appreciation and utmost respect. They P a g e | iv have given the highest attention to detail and therefore any errors—factual or mechanical—or omissions in this thesis are entirely my fault. Many friends and colleagues have read my work along the way, shared their talents with my production work, and supported me on a personal level. I extend my grateful thanks to: David Lawrence, Alison Walls, Simon Vincent, Jane Wenley, all of the actors and creative teams involved with Wellington Summer Shakespeare, Victoria University of Wellington, and the Restoration Shakespeare project. I also wish to express my gratitude to Dr. Paul Vincent, my proof-reader. Finally, thank you to God and my family, especially my mother and my sisters, Leslie and Lindsay. They are the ones who truly understand the distance I have traveled to complete this task. P a g e | v Contents Abstract .................................................................................................................. ii Acknowledgments ................................................................................................. iii Contents ................................................................................................................. v List of Illustrations ............................................................................................... vii Introduction ........................................................................................................... 2 Chapter 1: Other Worldly Desires: The Jailer’s Daughter and Emilia in Fletcher and Shakespeare’s The Two Noble Kinsmen and Davenant’s The Rivals .............................................................................................................................. 26 Introduction: Women‘s Parts in The Two Noble Kinsmen and The Rivals ....................... 26 1. The Jailer‘s Daughter in The Two Noble Kinsmen and The Rivals .......................... 29 2. Emilia‘s ―Female World‖ and Desire in The Two Noble Kinsmen and The Rivals ... 51 Chapter 2: No Woman Is an Island: Female Roles in Dryden and Davenant’s The Tempest, Or The Enchanted Island and Shakespeare’s The Tempest .......... 74 Introduction: Female Roles in The Enchanted Island and The Tempest .......................... 74 1. ―Miranda! where‘s your sister?‖: Miranda and Dorinda.......................................... 80 2. ―I must confess, I was inform‘d I am a man‖: Hippolito and Miranda ..................... 95 Chapter 3: Silence and Sorcery, Sexuality and Stone: Absent Parts to Understanding Hermione and Paulina in Shakespeare’s The Winter’s Tale and Garrick’s Florizel and Perdita ........................................................................... 112 Introduction: The Winter‟s Tale Adapted and Women‘s Roles on Garrick‘s Stage ....... 112 1. ―Tongue-tied, our queen?‖: The Presence and Absence of Hermione ................... 120 2. ―Got big tits you‘re a witch / Fall to bits you‘re a witch‖: Paulina‘s Paranormal Powers ........................................................................................................................ 142 Chapter 4: Transformation, Transvestism, and Lost Text: Violante’s Rape and Cross-Dressing in Lewis Theobald’s Double Falsehood and Fletcher and Shakespeare’s Cardenio ..................................................................................... 168 Introduction: A Lost Text ............................................................................................ 168 Conclusion .......................................................................................................... 198 P a g e | vi Appendix: The Plays in Performance ............................................................... 206 Works Cited ....................................................................................................... 210 P a g e | vii List of Illustrations 1 ―Mary Davis‖ ...................................................................................................... 39 2 ―Laugh and Lie Down‖ ....................................................................................... 64 3 Miranda offers to marry Ferdinand ...................................................................... 90 4 Miranda kisses Ferdinand .................................................................................... 91 5 Miranda takes Ferdinand‘s log .......................................................................... 100 6 Statue Scene of The Winter‟s Tale ..................................................................... 119 7 Hermione‘s
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