Personal Properties: Stage Props and Self-Expression in British Drama, 1600-1707
PERSONAL PROPERTIES: STAGE PROPS AND SELF-EXPRESSION IN BRITISH DRAMA, 1600-1707 Ashley Brookner Bender, B.A., M.A. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS December 2009 APPROVED: Alexander D. Pettit, Major Professor Deborah Needleman Armintor, Committee Member Jacqueline A. Vanhoutte, Committee Member David Holdeman, Chair of the Department of English Michael Monticino, Dean of the Robert B. Toulouse School of Graduate Studies Bender, Ashley Brookner, Personal Properties: Stage Props and Self-Expression in British Drama, 1600-1707, Doctor of Philosophy (English), December 2009, 166 pp., 119 titles. This dissertation examines the role of stage properties—props, slangily—in the construction and expression of characters’ identities. Through readings of both canonical and non-canonical drama written between 1600 and 1707—for example, Thomas Middleton’s The Revenger’s Tragedy (1607), Edward Ravenscroft’s adaptation of Titus Andronicus (1678), Aphra Behn’s The Rover (1677), and William Wycherley’s The Plain Dealer (1677)—I demonstrate how props mediate relationships between people. The control of a character’s props often accords a person control of the character to whom the props belong. Props consequently make visual the relationships of power and subjugation that exist among characters. The severed body parts, bodies, miniature portraits, and containers of these plays are the mechanisms by which characters attempt to differentiate themselves from others. The characters deploy objects as proof of their identities—for example, when the women in Behn’s Rover circulate miniatures of themselves—yet other characters must also interpret these objects. The props, and therefore the characters’ identities, are at all times vulnerable to misinterpretation.
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