Holland House in the 1650s: Evidence and Possibilities of Interregnum Theatrical Entertainment

IF 0.4 3区 社会学 Q4 MATERIALS SCIENCE, CHARACTERIZATION & TESTING HUNTINGTON LIBRARY QUARTERLY Pub Date : 2022-03-01 DOI:10.1353/hlq.2022.0003
Christopher Matusiak
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Abstract

abstract:According to James Wright's Historia Histrionica (1699), when professional stage players were prohibited from acting publicly during the English civil wars, they gravitated toward aristocratic residences, "in particular Holland-house at Kensington." This essay identifies the experiences of Holland House's principal proprietor, Isabel Rich (née Cope), first Countess of Holland, as the principal sponsor of these clandestine Kensington performances. Motivating her patronage, the essay argues, were the countess's obligations within an aristocratic moral economy; contemporary nostalgia for the prewar King's Men; the postwar affective dimensions of "mirth"; and investment in theater as a form of passive resistance to the authority of the new English republic.
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1650年代的荷兰府:空位时期戏剧娱乐的证据和可能性
根据詹姆斯·赖特的《历史演义》(1699),在英国内战期间,职业舞台剧演员被禁止公开表演,他们被吸引到贵族住宅,“特别是肯辛顿的荷兰宅邸”。这篇文章确定了荷兰之家的主要所有者伊莎贝尔·里奇(nassie Cope饰),第一任荷兰伯爵夫人,作为这些秘密肯辛顿演出的主要赞助者的经历。这篇文章认为,伯爵夫人在贵族道德经济体系中的义务促使了她的赞助;当代对战前《国王剧团》的怀旧;战后“欢笑”的情感维度;对戏剧的投资是对新英格兰共和国权威的一种被动抵抗
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HUNTINGTON LIBRARY QUARTERLY
HUNTINGTON LIBRARY QUARTERLY HUMANITIES, MULTIDISCIPLINARY-
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