{"title":"Living by Others’ Pleasure: Marston, The Dutch Courtesan, and Theatrical Profit","authors":"Lucy Munro","doi":"10.12745/et.23.1.4165","DOIUrl":null,"url":null,"abstract":"Abstract:We have known for over a century that John Marston held a share in Children of the Queen’s Revels, the all-boy playing company that first performed The Dutch Courtesan in 1604, but how this knowledge affects our understanding of his plays requires further exploration. Drawing on neglected documentary sources, this essay reappraises the company’s links with the Chapel Royal choir to argue that Dutch Courtesan capitalizes on the skills that most clearly connected its performers with the royal choir, even while scrutinizing the ways in which the company turned pleasurable recreation into profit.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"238 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Early Theatre: A Journal associated with the Records of Early English Drama","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.12745/et.23.1.4165","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
Abstract:We have known for over a century that John Marston held a share in Children of the Queen’s Revels, the all-boy playing company that first performed The Dutch Courtesan in 1604, but how this knowledge affects our understanding of his plays requires further exploration. Drawing on neglected documentary sources, this essay reappraises the company’s links with the Chapel Royal choir to argue that Dutch Courtesan capitalizes on the skills that most clearly connected its performers with the royal choir, even while scrutinizing the ways in which the company turned pleasurable recreation into profit.
摘要:一个多世纪以来，我们都知道约翰·马斯顿(John Marston)是“女王狂欢之子”(Children of the Queen’s Revels)的股东，这个全男孩剧团于1604年首次演出了《荷兰妓女》(Dutch交花女子)，但这一知识如何影响我们对他的戏剧的理解，还需要进一步探索。利用被忽视的文献资料，本文重新评估了该公司与皇家教堂合唱团的联系，认为荷兰歌舞团利用了最清楚地将其表演者与皇家合唱团联系起来的技能，甚至在仔细审查该公司将愉快的娱乐转化为利润的方式的同时。
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