Plays and Players at Court
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Mankind Et Everyman Avant-Propos De Jean-Paul Débax & André Lascombes
Mankind et Everyman Avant-Propos de Jean-Paul Débax & André Lascombes coll. « Traductions introuvables : Théâtre Anglais Médiéval », 2012, p. 1-12, mis en ligne le 13 fevrier 2012, URL stable <https://sceneeuropeenne.univ-tours.fr/traductions/genre-humain-mankind>. Théâtre anglais Médiéval est publié par le Centre d’études Supérieures de la Renaissance Université François-Rabelais de Tours, CNRS/UMR 7323 Responsable de la publication Philippe Vendrix Responsables scientifiques Richard Hillman & André Lascombes Mentions légales Copyright © 2012 - CESR. Tous droits réservés. Les utilisateurs peuvent télécharger et imprimer, pour un usage strictement privé, cette unité documentaire. Reproduction soumise à autorisation. ISSN - 1760-4745 Date de création Janvier 2012 AVANT PROPOS P. 1-2 Mankind et Everyman Avant-Propos Jean-Paul Débax & André Lascombes Centre d’Études Supérieures de la Renaissance, Tours Ce premier volume d’une série projetée d’éditions-tra- ductions des œuvres sources du théâtre européen de la Renaissance, volume consacré au domaine anglais, pro- pose au lecteur deux pièces également représentatives, mais chacune à sa manière, de cette production drama- tique ; elles illustrent, l’une et l’autre, le théâtre de la fin du xve siècle : Mankind (Genre Humain), que nous connais- sons grâce au Manuscrit Macro datant de la fin du siècle, semble avoir été composé à une date très voisine de 1466, et d’autre part The Summoning of Everyman (La semonce ou Convocation de Tout-Homme, traduction/adaptation pro- bable de la pièce néerlandaise Elckerlijc) dont nous avons quatre éditions anciennes, chez deux impri- meurs différents, échelonnées de 1515 à 1535, mais pro- bablement composé avant la fin du siècle précédent. -
University of Szeged Faculty of Arts Doctoral School of English and American Literatures and Cultures
CB WSf University of Szeged Faculty of Arts Doctoral School of English and American Literatures and Cultures THE VICE-DEVICE: IAGO AND LEAR'S FOOL AS AGENTS OF REPRESENTATIONAL CRISIS PhD THESIS Submitted by Agnes MATUSKA Supervisor Dr. Attila KISS Szeged 2005 THE VICE-DEVICE: IAGO AND LEAR'S FOOL AS AGENTS OF REPRESENTATIONAL CRISIS INTRODUCTION 3 1. THEORETICAL BACKGROUND, METHODOLOGY 11 1. L THE QUESTION OF EPISTEMOLOGICAL CRISIS 12 1.2 DIALECTICAL TRAGEDY: EPISTEMIC CHANGE IN THEATRE 21 1.3 "IF ACODE IS CRUMBLING..." 25 1.4 REPRESENTATIONAL CRISIS IN SHAKESPEARE 28 2. HAPHAZARDLY AMBIDEXTROUS: THE VICE-FAMILY 35 2. L PROBLEMS OF DEFINITION 35 "YOU WILL LEARN TO PLAYE THE VICE": PROBLEMS OF INTERPRETATION 37 2.2 VICES 48 Merry Report 49 Ambidexter 52 Haphazard 56 Punisher or punished? 60 The Fool in the Vice 66 2.3. VICE-SUCCESSORS AND FOOLS 72 Intriguer villains 73 Sir John Falstaff: The Vice-Fool 77 The "corrupter of-words": Feste 81 Deceiver among deceivers: Parolles 85 Afterlife of post-vices and the common life of lago and the Fool 87 2.4. THE VICE-CLOWN ON THE SHAKESPEAREAN STAGE 91 3. METADRAMA 97 3. L METADRAMA AND THE VICE, A DEFINITION OF THE TERM 97 3.1.1 The Vice as mediator 97 3.1.2 Metadrama in Shakespeare-criticism 102 3.2 MEANING AS AN EVENT - IAGO AND METADRAMA IN OTHELLO 107 3.2.1 Commenting on drama, involving the audience 109 3.2.2 Iago's book of identity and role-playing 110 3.2.3 Plays -within - Iago as director 117 3.2.4 Representation as fiction 121 3.2.5 Iago's metadramatic effect—summary 122 3.3 METADRAMATIC ASPECTS OF THE FOOL 124 3.3.1 The Fool and his audience 125 3.3.2 "All thy other titles " 127 3.3.3 Plays of the fool -within and without. -
John Stephen Farmer
Patrick J. Kearney NOTES GENEA-BIBLIO-BIOGRAPHICAL on John Stephen Farmer SCISSORS & PASTE BIBLIOGRAPHIES Santa Rosa, CA 2019 The only known photograph of John S. Farmer obtained by G. Legman from Dr. E. J. Dingwall and used as the frontispiece to the first volume of the abortive attempt to reprint of Slang and its Analagues by University Books of New York in 1964. In 1966, University Books of New Hyde Park, New York, launched an ambitious project to reprint in a volume-by-vol- ume facsimile The Dictionary of Slang and its Analogues that was published privately by subscription, and in the teeth of legal obstructions by printers who claimed that their modesty was shocked by the work’s content, between 1890 and 1904 in seven volumes. Sensibly, University Books commenced work by re-issuing the second edition of the first volume, revised and enlarged by the original compilers, John Stephen Farmer and William Ernest Henley, and published in two parts, in 1903 and 1909. It is unfortunate that this is as far as the project went and no further volumes were reprinted. However, aside from the importance of having the quite rare revision made available again, and in a handsome, cased edition, this solitary volume had a couple of additions that make it even more valuable. First there are two Introductions, one, ‘On Sex- ual Speech and Slang,’ by the late Gershon Legman, being of particular interest; and secondly there is reproduced, as the fron- tispiece, the only known photograph of Farmer, which Legman acquired from Dr. Eric Dingwall, himself an authority on some of the more curious bypaths of literature. -
Furious: Myth, Gender, and the Origins of Lady Macbeth
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2019 Furious: Myth, Gender, and the Origins of Lady Macbeth Emma King The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3431 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] FURIOUS: MYTH, GENDER, AND THE ORIGINS OF LADY MACBETH by EMMA KING A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2019 ii © 2019 EMMA KING All Rights Reserved iii Furious: Myth, Gender, and the Origins of Lady Macbeth by Emma King This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the thesis requirement for the degree of Master of Arts. Date Tanya Pollard Thesis Advisor Date Elizabeth Macaulay-Lewis Executive Officer THE CITY UNIVERSITY OF NEW YORK iv ABSTRACT Furious: Myth, Gender, and the Origins of Lady Macbeth by Emma King This thesis attempts to understand the fabulously complex and poisonously unsettling Lady Macbeth as a product of classical reception and intertextuality in early modern England. Whence comes her “undaunted mettle” (1.7.73)? Why is she, like the regicide she helps commit, such a “bloody piece of work” (2.3.108)? How does her ability to be “bloody, bold, and resolute” (4.1.81), as Macbeth is commanded to be, reflect canonical literary ideas, early modern or otherwise, regarding women, gender, and violence? Approaching texts in the literary canon as the result of transformation and reception, this research analyzes the ways in which Lady Macbeth’s gender, motivations, and words can be understood as inherently intertextual. -
The Dramatic Records of Sir Henry Herbert, Master of the Revels, 1623-1673
ill "iil! !!;i;i;i; K tftkrmiti THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/dramaticrecordsoOOgreaiala CORNELL STUDIES IN ENGLISH EDITED BY JOSEPH QUINCY ADAMS LANE COOPER CLARK SUTHERLAND NORTHUP THE DRAMATIC RECORDS OF SIR HENRY HERBERT MASTER OF THE REVELS, 1623-1673 EDITED BY JOSEPH QUINCY ADAMS CORNELL UNIVERSITY NEW HAVEN: VALE UNIVERSITY PRESS LONDON: HUMPHREY MILKORD OXFORD UNIVERSITY PRESS MDCCCCXVII 7 7 Copyright, 191 By Yale University Press First published, October, 191 PRESS OF THE NEW ERA PRINTING COMPANY LANCASTER, PA. College Library TO CLARK SUTHERLAND NORTHUP AS A TOKEN OF ESTEEM 1092850 PREFACE The dramatic records of the Office of the Revels during the reigns of Edward VI, Mar>', and Elizabeth have been admirably edited with full indexes and notes by Professor Albert Feuillerat; but the records of the Office during the reigns of James I, Charles I, and Charles TI remain either unedited or scattered in mis- cellaneous volumes, none of which is indexed. Every scholar working in the field of the Tudor-Stuart drama must have felt the desirability of having these later records printed in a more accessible form. In the present volume I have attempted to bring together the dramatic records of Sir Henry Herbert, during whose long administration the Office of the Revels attained the height of its power and importance. These records, most of them preserved through Herbert's own care, consist of his office-book, covering the period of 1 622-1 642, a few documents relating to the same period, and miscellaneous documents relating to the management of the Office after the Restoration. -
The Singing 'Vice': Music and Mischief in Early English Drama1
Early Theatre 12.2 (2009) Maura Giles-Watson The Singing ‘Vice’: Music and Mischief in Early English Drama1 ‘Debates about music are not about nothing.’ 2 Over the last half-century, scholars have extensively studied and debated the use and function of instrumental and vocal music in the English mystery plays,3 but music in the secular English interlude drama has yet to receive similar treatment.4 This is not without good reason: the subject of music in the interludes is fraught with ambiguity and uncertainty. Although the extant interludes contain many indications of song in the form of references, snatches, cues, stage directions, and even full song texts, very little scored music has been preserved in either manuscript or print.5 Richard Rastall’s observation with regard to music in early English religious drama might also be made of music in the interludes: ‘the surviving written music is only a fraction of that actually required in performance’.6 To be sure, absent musical scores and elided stage directions present special problems for the researcher. Thus, very sensibly, discussions of music in secular interlude drama have tended to limit themselves to those rare play texts that contain significant music in score, such as John Rastell’s The Four Elements and Ulpian Fulwell’s Like Will to Like.7 As Richard Rastall further notes, since documentation is quite scarce ‘informed guesswork is the only way forward’ in discussions of music in early English drama, ‘although the word “informed” is one that needs to be stressed’.8 Suzanne Westfall observes that ‘entertainments in great households were almost always occasional, ephemeral and frequently non- textual due to their multi-mediality. -
31295003784336.Pdf (7.278Mb)
Copyright 1984 by Nancy Gayle Myers Allen A CRITICAL EDITION OF TWO TUDOR INTERLUDES: NICE WANTON AND THE DISOBEDIENT CHILD by NANCY GAYLE MYERS ALLEN, B.S. in ED., M.A DISSERTATION IN ENGLISH Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Accepted uec^jiber, .iy»^ ^(3 1 ACKNOWLEDGMENTS I wish to express my deep appreciation to Professor Donald W. Rude, Chairman of my Committee, for his direction of this study and for his support and guidance during my years at Texas Tech. I want to thcuk Professor Ernest W. Sullivan for his careful readings and helpful criticisms of this study. My thanks also to Professors Joseph Mogan, Richard Crider, and Constance Kuriyama for their comments. T. also wish to thank Norma McDougal, a gracious friend, for her help in ide;-!f ifyin^ Biblical allusions and their sources. Special thanks to The University Quarterly Club for financial assistance in completing this work jnd t- the Carl H. Pforzheimer Library for permission to use microfilr.i of The Disobedient Child. In addition, I want to thank my typist and friend Juanita Ramirez; who worked with such speed and accuracy under the most trying circumstances. Finally, I owe my greatest debt to my husband, Jim, whose support and encouragement have helped make my dream a reality. This work is dedicated to him. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii INTRODUCTION iv TEXT OF NICE WANTON 1 GLOSS AND EXPLANATORY NOTES 28 HISTORY OF THE TEXT 36 RATIONALE OF THE COPY-TEXT 58 TEXTUAL APPARATUS 78 TEXT OF THE DISOBEDIENT CHILD 94 GLOSS AND EXPLANATORY NOTES 167 HISTORY AND RATIONALE 178 BIBLIOGRAPHY I94 iii INTRODUCTION IV INVilODUC'IION The English prodigai-son plays of the early -sixteenth century resulted from the blending of two literary traditions, oae foreign and one domestic. -
“A Poor Player That Struts and Frets His Hour Upon the Stage…”
“A POOR PLAYER THAT STRUTS AND FRETS HIS HOUR UPON THE STAGE…” THE ENGLISH THEATRE IN TRANSITION A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts Christin N. Gambill May, 2016 “A POOR PLAYER THAT STRUTS AND FRETS HIS HOUR UPON THE STAGE…” THE ENGLISH THEATRE IN TRANSITION Christin N. Gambill Thesis Approved: Accepted: _______________________________ _______________________________ Advisor Dean of the College Mr. James Slowiak Dr. John Green _______________________________ _______________________________ Faculty Reader Dean of the Graduate School Mr. Adel Migid Dr. Chand Midha _______________________________ _______________________________ Faculty Reader Date Dr. Hillary Nunn _______________________________ School Director Dr. J. Thomas Dukes ii TABLE OF CONTENTS Page CHAPTER I. “THIS ROYAL THRONE THIS SCEPTERED ISLE…” THE THEATRE OF THE ENGLISH RENAISSANCE ............................................................................................... 1 II. THE COMING STORM .............................................................................................. 14 III. THE AXE FALLS ...................................................................................................... 29 IV. UNDER THEIR NOSES ............................................................................................ 42 V. THE NEW ORDER ..................................................................................................... 53 VI. FUTURE CONSIDERATIONS -
Christopher Beeston and the Caroline Office of Theatrical •Ÿgovernorâ•Ž
Early Theatre 11.2 (2008) Christopher Matusiak Christopher Beeston and the Caroline Office of Theatrical ‘Governor’ The decision in February 1637 to appoint Christopher Beeston (alias Hut- chinson) ‘Gouuernor of the new Company of the Kings & Queenes boyes’ crowned one of the busiest and most innovative careers in seventeenth-cen- tury commercial theatre.1 Beeston had emerged in the 1590s as a young per- former in the Chamberlain’s Men, notably acting with Richard Burbage, Wil- liam Kempe, and William Shakespeare in the first production of Ben Jonson’s Every Man in His Humour. For the better part of the next two decades, he managed the financial affairs of Queen Anne’s Men at the Red Bull and with that company’s assets at his disposal, particularly its valuable wardrobe, he oversaw the building of west London’s first playhouse in 1616 — the Cock- pit (or Phoenix) in Drury Lane. By 1636, Beeston had established himself as London’s pre-eminent theatrical entrepreneur, having led Queen Henri- etta Maria’s fashionable company for ten years and amassed an unpreced- ented personal treasury of playbooks, acting apparel, and other tiring house materials. However, in May of that year the worst outbreak of plague in three decades closed the theatres and suppressed business until the following October 1637. Under the stress of eighteenth months of enforced idleness, acting companies buckled, setting patents and personnel adrift. Among the casualties was Beeston’s relationship with the Queen’s Men. From his van- tage point at the competing Salisbury -
The Private Theaters in Crisis: Strategies at Blackfriars and Paul’S, 1606–07
ABSTRACT Title of Document: THE PRIVATE THEATERS IN CRISIS: STRATEGIES AT BLACKFRIARS AND PAUL’S, 1606–07 Christopher Bryan Love, Ph.D., 2006 Directed By: Professor Theodore B. Leinwand, Department of English This study addresses the ways in which the managers and principal playwrights at second Paul’s and second Blackfriars approached opportunities in the tumultuous 1606–07 period, when the two troupes were affected by extended plague closures and threatened by the authorities because of the Blackfriars’ performance of offensive satires. I begin by demonstrating that Paul’s and Blackfriars did not neatly conform to the social and literary categories or commercial models typically employed by scholars. Instead, they were collaborative institutions that readily adapted to different circumstances and situations. Their small size, different schedules, and different economics gave them a flexibility generally unavailable to the larger, more thoroughly commercial adult companies. Each chapter explores a strategy used by the companies and their playwrights to negotiate a tumultuous theatrical market. The first chapter discusses the mercenary methods employed by the private children’s theaters. Occasionally, plays or play topics were commissioned by playgoers, and some performances at Paul’s and Blackfriars may even have been “private” in the sense of closed performances for exclusive audiences. In this context, I discuss Francis Beaumont’s The Knight of the Burning Pestle (Blackfriars, 1607), in which Beaumont uses the boorish citizens George and Nell to lay open the private theaters’ mercenary methods and emphasize sophisticated playgoers’ stake in the Blackfriars theater. The second chapter discusses the ways private-theater playwrights used intertextuality to entertain the better sort of playgoers, especially those who might buy quartos of plays. -
'To See the Playes of Theatre Newe Wrought': Electronic Editions And
Issues in Review 211 ‘To see the Playes of Theatre newe wrought’: Electronic Editions and Early Tudor Drama Brett D. Hirsch Early Theatre 16.2 (2013), 211–249 DOI: http://dx.doi.org/10.12745/et.16.2.13 This article considers the challenges and opportunities associated with electronic editions of early Tudor drama, as well as the new modes of scholarship enabled by their creation. In early Tudor England the drama had sunk many fathoms below the level of the Miracle Plays … The rise of the drama, under Elizabeth, is a kind of miracle, like the sculpture of Phidias appearing after the rude art of the artists who worked at Athens before the victories of Marathon and Salamis.1 The continued neglect of early Tudor drama suggests little has changed in the hundred years since Andrew Lang published this disparaging remark. A generation before, J.A. Symonds announced that the Tudor moralities ‘can hardly be said to lie in the direct line of evolution between the Miracle and the legitimate Drama, but rather to be an abortive side-effort, which was des- tined to bear barren fruit’.2 Routinely dismissed as ‘thematically humanis- tic, theatrically dull, and aesthetically mediocre’,3 early Tudor drama has, as Leah S. Marcus observes, typically ‘interested scholars only as a transition to something else’,4 namely, the drama of Shakespeare and his immediate con- temporaries. Frederick S. Boas’ Introduction to Tudor Drama, for example, begins with the acknowledgment that Shakespeare ‘does not stand alone in isolated majesty’, that His work is the climax, the consummation of the efforts and achievements of forerunners for a century before he began to write. -
Vice': Music and Mischief in Early English Drama Maura Giles-Watson University of San Diego, [email protected]
University of San Diego Digital USD English Faculty Publications Department of English 2009 The inS ging 'Vice': Music and Mischief in Early English Drama Maura Giles-Watson University of San Diego, [email protected] Follow this and additional works at: http://digital.sandiego.edu/english_facpub Digital USD Citation Giles-Watson, Maura, "The inS ging 'Vice': Music and Mischief in Early English Drama" (2009). English Faculty Publications. 2. http://digital.sandiego.edu/english_facpub/2 This Article is brought to you for free and open access by the Department of English at Digital USD. It has been accepted for inclusion in English Faculty Publications by an authorized administrator of Digital USD. For more information, please contact [email protected]. Early Theatre 12.2 (2009) Maura Giles-Watson The Singing ‘Vice’: Music and Mischief in Early English Drama1 ‘Debates about music are not about nothing.’ 2 Over the last half-century, scholars have extensively studied and debated the use and function of instrumental and vocal music in the English mystery plays,3 but music in the secular English interlude drama has yet to receive similar treatment.4 This is not without good reason: the subject of music in the interludes is fraught with ambiguity and uncertainty. Although the extant interludes contain many indications of song in the form of references, snatches, cues, stage directions, and even full song texts, very little scored music has been preserved in either manuscript or print.5 Richard Rastall’s observation with regard to music in early English religious drama might also be made of music in the interludes: ‘the surviving written music is only a fraction of that actually required in performance’.6 To be sure, absent musical scores and elided stage directions present special problems for the researcher.