Abstract:With its glorified ghost, godly avenger, and idolatrous Tyrant, Thomas Middleton’s The Lady’s Tragedy appears to offer a thinly veiled allegory of Protestant triumphalism. Little attention has been paid, however, to how its characters do — or do not — respond to the play’s many crises of conscience. This essay sets Middleton’s tragedy against English Protestant understandings of the trembling body and vexed conscience. It demonstrates that while the play’s multiple instances of trembling seem to unsettle its Protestant triumphalism, its special effects, intended to provoke audience trembling, might nevertheless deepen playgoers’ attachment to the Protestant cause.
{"title":"Fear and Trembling: Performing the Protestant Conscience in Thomas Middleton’s The Lady’s Tragedy","authors":"J. Snyder","doi":"10.12745/et.26.1.5190","DOIUrl":"https://doi.org/10.12745/et.26.1.5190","url":null,"abstract":"Abstract:With its glorified ghost, godly avenger, and idolatrous Tyrant, Thomas Middleton’s The Lady’s Tragedy appears to offer a thinly veiled allegory of Protestant triumphalism. Little attention has been paid, however, to how its characters do — or do not — respond to the play’s many crises of conscience. This essay sets Middleton’s tragedy against English Protestant understandings of the trembling body and vexed conscience. It demonstrates that while the play’s multiple instances of trembling seem to unsettle its Protestant triumphalism, its special effects, intended to provoke audience trembling, might nevertheless deepen playgoers’ attachment to the Protestant cause.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"253 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123682245","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article discusses a recently rediscovered copy of Ben Jonson’s 1640 Workes that contains seventeenth-century annotations to Epicene that suggest preparations for performance. We trace the folio copy’s provenance with the Powell family in Nanteos, Wales, and consider the possibility that it may have been annotated when in the possession of Sir Thomas Powell, a lawyer and judge who spent much of his life in London. We argue that the annotated play-text can be connected to four other play-books by William Shakespeare and James Shirley that have been previously associated with seventeenth-century amateur theatricals, and that the new evidence provided by the Jonson text points plausibly to a practice of amateur performance at and around Gray’s Inn in the middle of the century.
{"title":"Amateur Theatre at the Early Modern Inns of Court? The Implications of a Performance Copy of Jonson’s 1640 Folio","authors":"T. Harrison, J. Loxley","doi":"10.12745/et.26.1.5240","DOIUrl":"https://doi.org/10.12745/et.26.1.5240","url":null,"abstract":"Abstract:This article discusses a recently rediscovered copy of Ben Jonson’s 1640 Workes that contains seventeenth-century annotations to Epicene that suggest preparations for performance. We trace the folio copy’s provenance with the Powell family in Nanteos, Wales, and consider the possibility that it may have been annotated when in the possession of Sir Thomas Powell, a lawyer and judge who spent much of his life in London. We argue that the annotated play-text can be connected to four other play-books by William Shakespeare and James Shirley that have been previously associated with seventeenth-century amateur theatricals, and that the new evidence provided by the Jonson text points plausibly to a practice of amateur performance at and around Gray’s Inn in the middle of the century.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117275444","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Philip Massinger’s The Duke of Milan (1621) clearly sits in the tradition of the Elizabethan and Jacobean Italianate tragedy and is resonant of stories, ideas, theories, and characters from Italian history and its literary tradition. This essay discusses the play as one of the earliest examples of Massinger’s interest in Italy and its culture. It investigates the play’s Italian setting and examines the influence of the Italian cultural and political legacy to offer new insights into the development of Anglo-Italian relations and England’s home and religious politics in the early 1620s.
{"title":"‘My maine hope is, to begin the sport at Millaine’: Italy in Philip Massinger’s The Duke of Milan","authors":"C. Paravano","doi":"10.12745/et.26.1.5086","DOIUrl":"https://doi.org/10.12745/et.26.1.5086","url":null,"abstract":"Abstract:Philip Massinger’s The Duke of Milan (1621) clearly sits in the tradition of the Elizabethan and Jacobean Italianate tragedy and is resonant of stories, ideas, theories, and characters from Italian history and its literary tradition. This essay discusses the play as one of the earliest examples of Massinger’s interest in Italy and its culture. It investigates the play’s Italian setting and examines the influence of the Italian cultural and political legacy to offer new insights into the development of Anglo-Italian relations and England’s home and religious politics in the early 1620s.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130418383","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:In the aftermath of the storm in The Tempest, as Miranda suffers vicariously with the shipwrecked passengers, Prospero imposes meaning onto the environmental catastrophe. Imbricating maritime salvage, physical saving, and theological salvation, Pros-pero insists on a temporality of supersession in which catastrophe allows one political order to displace an older, corrupt paradigm. But the act of salvaging deepens Miranda’s erotic attachment to Ferdinand and complicates the social affiliations of the island. Alternately, Caliban, inverting the erotics of salvage, dramatizes how racialized perception saturates experiential encounters with the storm.
{"title":"The Erotics of Salvage","authors":"John Yargo","doi":"10.12745/et.26.1.4996","DOIUrl":"https://doi.org/10.12745/et.26.1.4996","url":null,"abstract":"Abstract:In the aftermath of the storm in The Tempest, as Miranda suffers vicariously with the shipwrecked passengers, Prospero imposes meaning onto the environmental catastrophe. Imbricating maritime salvage, physical saving, and theological salvation, Pros-pero insists on a temporality of supersession in which catastrophe allows one political order to displace an older, corrupt paradigm. But the act of salvaging deepens Miranda’s erotic attachment to Ferdinand and complicates the social affiliations of the island. Alternately, Caliban, inverting the erotics of salvage, dramatizes how racialized perception saturates experiential encounters with the storm.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"81 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125238053","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This essay reads Pericles (1608) through the lens of early modern critical whiteness studies. Tracing how the play reworks the colour-coding of its medieval source text along new racial lines, this essay sees Pericles’s melancholia as an allegory of the always incomplete condition of whiteness. It then shows how Pericles uses the erotic mechanics of romance to pursue his quest for whiteness. Ultimately, the essay underlines the relevance of Pericles’s quest to Shakespeare’s cultural moment before discussing the voices of resistance to the project of whiteness embedded within the play, and the uses of that play for our own times.
{"title":"‘Read it for restoratives’: Pericles and the Romance of Whiteness","authors":"Noémie Ndiaye","doi":"10.12745/et.26.1.4910","DOIUrl":"https://doi.org/10.12745/et.26.1.4910","url":null,"abstract":"Abstract:This essay reads Pericles (1608) through the lens of early modern critical whiteness studies. Tracing how the play reworks the colour-coding of its medieval source text along new racial lines, this essay sees Pericles’s melancholia as an allegory of the always incomplete condition of whiteness. It then shows how Pericles uses the erotic mechanics of romance to pursue his quest for whiteness. Ultimately, the essay underlines the relevance of Pericles’s quest to Shakespeare’s cultural moment before discussing the voices of resistance to the project of whiteness embedded within the play, and the uses of that play for our own times.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117286197","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article discusses the exploration of the repertory model in Tom Stuart's 2019 play After Edward, produced at Shakespeare's Globe. Performed in repertory with a production of Edward II, After Edward dramatizes Diana Taylor's sense of repertoire; the embodied skills of the actor and the heterochronic site of the Sam Wanamaker Playhouse allow Stuart as actor and writer to reconcile his lived experience as a gay man with his work as an actor. Based on this case study, this article argues that After Edward enacts a praxis of ensemble as artist development.
{"title":"Artist Development and Collective Therapy in the Repertory: The Case of After Edward","authors":"P. Kirwan","doi":"10.12745/et.25.2.4733","DOIUrl":"https://doi.org/10.12745/et.25.2.4733","url":null,"abstract":"Abstract:This article discusses the exploration of the repertory model in Tom Stuart's 2019 play After Edward, produced at Shakespeare's Globe. Performed in repertory with a production of Edward II, After Edward dramatizes Diana Taylor's sense of repertoire; the embodied skills of the actor and the heterochronic site of the Sam Wanamaker Playhouse allow Stuart as actor and writer to reconcile his lived experience as a gay man with his work as an actor. Based on this case study, this article argues that After Edward enacts a praxis of ensemble as artist development.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116739533","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This introduction outlines the essays in the Early Theatre Issues in Review forum 'Playing in Repertory', placing them in the context of new movements in the study of early modern English repertories for contemporaneous and contemporary performance.
{"title":"Introduction: Repertory, Dramaturgy, and Embodiment","authors":"Elizabeth Tavares, Laurie Johnson","doi":"10.12745/et.25.2.4732","DOIUrl":"https://doi.org/10.12745/et.25.2.4732","url":null,"abstract":"Abstract:This introduction outlines the essays in the Early Theatre Issues in Review forum 'Playing in Repertory', placing them in the context of new movements in the study of early modern English repertories for contemporaneous and contemporary performance.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127682385","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This note brings attention to a neo-Latin ode in Alcaic stanzas entitled 'In Roscias nostras, seu Histriones Feminas' ('On Our Roscias, or Female Actors'), which was written by the Cambridge classical scholar James Duport before 1676. A translation and commentary on the poem provide access for the first time to this learned reaction to the new cultural phenomenon in the Restoration of the professional actress.
摘要:本文关注的是剑桥大学古典学者詹姆斯·杜波特在1676年之前创作的一首阿尔卡诗节新拉丁语颂歌《On Our Roscias nostras, seu Histriones Feminas》(On Our Roscias, or Female Actors)。对这首诗的翻译和评论首次提供了对职业女演员复辟时期新文化现象的学术反应的途径。
{"title":"Alcaics on Restoration Actresses by the Cambridge Classical Scholar James Duport","authors":"T. Vozar","doi":"10.12745/et.25.2.4923","DOIUrl":"https://doi.org/10.12745/et.25.2.4923","url":null,"abstract":"Abstract:This note brings attention to a neo-Latin ode in Alcaic stanzas entitled 'In Roscias nostras, seu Histriones Feminas' ('On Our Roscias, or Female Actors'), which was written by the Cambridge classical scholar James Duport before 1676. A translation and commentary on the poem provide access for the first time to this learned reaction to the new cultural phenomenon in the Restoration of the professional actress.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127339087","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Premodern Critical Race Studies and the Question of History","authors":"Vanessa I. Corredera","doi":"10.12745/et.25.2.5246","DOIUrl":"https://doi.org/10.12745/et.25.2.5246","url":null,"abstract":"<jats:p>N/A</jats:p>","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126667147","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:One of the most famous lines in Shakespeare's Julius Caesar is Caesar's ominous claim that 'Yond Cassius has a lean and hungry look' (1.2.193). Understanding the implications of this line requires appreciating the extent it activates the early modern discourse of envy. Because Shakespeare makes his Cassius dispositionally envious—an invention not found in Plutarch—comprehending the full import of the enviousness his 'lean and hungry look' entails is vital to grasping the playwright's characterization. Unpacking the association between leanness and envy in Renaissance literary culture reveals how Shakespeare's handling of his source had immediate thematic resonance for his audience.
{"title":"Envy, Leanness, and Shakespeare's Julius Caesar","authors":"Bradley J. Irish","doi":"10.12745/et.25.2.4854","DOIUrl":"https://doi.org/10.12745/et.25.2.4854","url":null,"abstract":"Abstract:One of the most famous lines in Shakespeare's Julius Caesar is Caesar's ominous claim that 'Yond Cassius has a lean and hungry look' (1.2.193). Understanding the implications of this line requires appreciating the extent it activates the early modern discourse of envy. Because Shakespeare makes his Cassius dispositionally envious—an invention not found in Plutarch—comprehending the full import of the enviousness his 'lean and hungry look' entails is vital to grasping the playwright's characterization. Unpacking the association between leanness and envy in Renaissance literary culture reveals how Shakespeare's handling of his source had immediate thematic resonance for his audience.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"105 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124742278","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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