Abstract:A long-running debate surrounds the staging of 'green worlds' in early modern drama, with some commentators envisioning a bare stage while others believe that performances utilized multiple properties. One area of contention concerns the extent to which theatres used stage posts to represent trees. This article considers four plays (by Shakespeare, Munday, and Porter) performed at the Rose Theatre in the period 1594—8 and makes a case for the employment of various properties in forest scenes. Reference to the playhouse's architecture after it was renovated in 1592, in particular the location of its stage posts, underpins the argument.
{"title":"The Inconvenience of Stage Posts: Green World Locales at the Rose Theatre","authors":"Adrian Blamires","doi":"10.12745/et.25.2.4848","DOIUrl":"https://doi.org/10.12745/et.25.2.4848","url":null,"abstract":"Abstract:A long-running debate surrounds the staging of 'green worlds' in early modern drama, with some commentators envisioning a bare stage while others believe that performances utilized multiple properties. One area of contention concerns the extent to which theatres used stage posts to represent trees. This article considers four plays (by Shakespeare, Munday, and Porter) performed at the Rose Theatre in the period 1594—8 and makes a case for the employment of various properties in forest scenes. Reference to the playhouse's architecture after it was renovated in 1592, in particular the location of its stage posts, underpins the argument.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"13 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":"123788894","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 maps the complex intersubjective dynamics of confession as illuminated in William Shakespeare's Romeo and Juliet and John Ford's 'Tis Pity She's a Whore, plays in which the ritual of shrift has a pivotal narrative and thematic role. The essay focuses on the friar characters and the office of shrift with which they were associated, and argues that Shakespeare and Ford draw on the durable cultural currency of auricular confession in post-Reformation England to ultimately disruptive ends, as characters consistently and increasingly reconfigure the intersubjective scripts of confession, using its conventions to draft new architectures of performative power.
{"title":"'Riddling Shrift': Confession, Speech, and Power in Romeo and Juliet and 'Tis Pity She's a Whore","authors":"Jane Wanninger","doi":"10.12745/et.25.2.4515","DOIUrl":"https://doi.org/10.12745/et.25.2.4515","url":null,"abstract":"Abstract:This essay maps the complex intersubjective dynamics of confession as illuminated in William Shakespeare's Romeo and Juliet and John Ford's 'Tis Pity She's a Whore, plays in which the ritual of shrift has a pivotal narrative and thematic role. The essay focuses on the friar characters and the office of shrift with which they were associated, and argues that Shakespeare and Ford draw on the durable cultural currency of auricular confession in post-Reformation England to ultimately disruptive ends, as characters consistently and increasingly reconfigure the intersubjective scripts of confession, using its conventions to draft new architectures of performative power.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"3 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114108364","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 explores the role of new writing within two contemporary Shakespearean institutions, the Royal Shakespeare Company (RSC) and Shakespeare's Globe. Focusing on the 2010 premieres and subsequent touring productions of David Greig's Dunsinane for the RSC and Howard Brenton's Anne Boleyn at the Globe, this article reflects on how these plays derive distinctive meanings from their repertory connection to Shakespeare. At the same time, I argue that by reconceiving accepted historical narratives and figures, these plays also challenge causal links between past and present, including the supposed lineage between Shakespeare and contemporary writers that both institutions espouse.
{"title":"New Work In and Beyond Repertory at the Royal Shakespeare Company and Shakespeare's Globe","authors":"C. Fallow","doi":"10.12745/et.25.2.4739","DOIUrl":"https://doi.org/10.12745/et.25.2.4739","url":null,"abstract":"Abstract:This article explores the role of new writing within two contemporary Shakespearean institutions, the Royal Shakespeare Company (RSC) and Shakespeare's Globe. Focusing on the 2010 premieres and subsequent touring productions of David Greig's Dunsinane for the RSC and Howard Brenton's Anne Boleyn at the Globe, this article reflects on how these plays derive distinctive meanings from their repertory connection to Shakespeare. At the same time, I argue that by reconceiving accepted historical narratives and figures, these plays also challenge causal links between past and present, including the supposed lineage between Shakespeare and contemporary writers that both institutions espouse.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"8 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":"121027100","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 act 2 scene 1 of Christopher Marlowe's Doctor Faustus, the title character professes that 'hell is a fable'. But how could Faustus not believe in hell, standing in the presence of a devil that he himself only recently conjured? What is the philosophical difference in the play between 'experience', as Mephistopheles describes it, and Faustus's lack of understanding on the state of his soul? This article discusses the controversy between Ockhamist and Thomist epistemology, and places Faustus within early modern debates concerning the status of knowledge and its effect on the soul's search for God.
{"title":"Divine Thoughts and the Corruption of the Will in Doctor Faustus","authors":"Nathan Pensky","doi":"10.12745/et.25.1.4361","DOIUrl":"https://doi.org/10.12745/et.25.1.4361","url":null,"abstract":"Abstract:In act 2 scene 1 of Christopher Marlowe's Doctor Faustus, the title character professes that 'hell is a fable'. But how could Faustus not believe in hell, standing in the presence of a devil that he himself only recently conjured? What is the philosophical difference in the play between 'experience', as Mephistopheles describes it, and Faustus's lack of understanding on the state of his soul? This article discusses the controversy between Ockhamist and Thomist epistemology, and places Faustus within early modern debates concerning the status of knowledge and its effect on the soul's search for God.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"745 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131553324","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:Arrest on civil process, especially for debt, became an increasingly important motif in late Elizabethan and early Stuart literature, especially Jacobean drama. In the second half of the sixteenth century, rates of litigation skyrocketed, arrest on first instance became common, and a series of bankruptcy acts exacerbated the inequities of debt proceedings. Moreover, the crown's efforts to mitigate problems of imprisonment for debt made arrest a flashpoint between competing movements for legal reform. In these contexts, dramatists paid new attention to arrest practices, regularly representing them as illegitimate and open to abuse. The motif of arrest for debt had particular power in dramatic works because the legal act itself was inherently performative.
{"title":"Arrest for Debt in Late Elizabethan and Early Stuart London","authors":"Stuart Minson","doi":"10.12745/et.25.1.4708","DOIUrl":"https://doi.org/10.12745/et.25.1.4708","url":null,"abstract":"Abstract:Arrest on civil process, especially for debt, became an increasingly important motif in late Elizabethan and early Stuart literature, especially Jacobean drama. In the second half of the sixteenth century, rates of litigation skyrocketed, arrest on first instance became common, and a series of bankruptcy acts exacerbated the inequities of debt proceedings. Moreover, the crown's efforts to mitigate problems of imprisonment for debt made arrest a flashpoint between competing movements for legal reform. In these contexts, dramatists paid new attention to arrest practices, regularly representing them as illegitimate and open to abuse. The motif of arrest for debt had particular power in dramatic works because the legal act itself was inherently performative.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122049461","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:Many scholars believe that actor Will Kemp left William Shakespeare's company in early 1599, prompting the playwright to omit Kemp's character Falstaff from Henry V. This essay proposes that Kemp stepped down as a shareholder but remained with the Lord Chamberlain's men as an actor through the summer and autumn of 1599, taking small parts in Julius Caesar and the role of the Welsh Captain Fluellen in Henry V. Evidence that one of Kemp's acknowledged parts, Launce in The Two Gentlemen of Verona, was written to be performed as a figure of Welsh descent, supports this contention.
{"title":"'I am but a fool, look you': Will Kemp and the Performance of Welshness","authors":"M. Friedman","doi":"10.12745/et.25.1.4411","DOIUrl":"https://doi.org/10.12745/et.25.1.4411","url":null,"abstract":"Abstract:Many scholars believe that actor Will Kemp left William Shakespeare's company in early 1599, prompting the playwright to omit Kemp's character Falstaff from Henry V. This essay proposes that Kemp stepped down as a shareholder but remained with the Lord Chamberlain's men as an actor through the summer and autumn of 1599, taking small parts in Julius Caesar and the role of the Welsh Captain Fluellen in Henry V. Evidence that one of Kemp's acknowledged parts, Launce in The Two Gentlemen of Verona, was written to be performed as a figure of Welsh descent, supports this contention.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114619043","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 lays out new information on Henry Lanman, the owner or part-owner of the Curtain theatre in late-Elizabethan London. It shows that Lanman was a longtime servant of the courtier and politician Sir Christopher Hatton, a fact which helps to clarify a number of aspects of Lanman's life. It also discusses the Lanman family's strong association with Catholicism. Finally, it considers the possibility that Hatton acted as an informal protector of Lanman and his theatre.
{"title":"New Light on Henry Lanman, Owner of the Curtain","authors":"Neil Younger","doi":"10.12745/et.25.1.4532","DOIUrl":"https://doi.org/10.12745/et.25.1.4532","url":null,"abstract":"Abstract:This note lays out new information on Henry Lanman, the owner or part-owner of the Curtain theatre in late-Elizabethan London. It shows that Lanman was a longtime servant of the courtier and politician Sir Christopher Hatton, a fact which helps to clarify a number of aspects of Lanman's life. It also discusses the Lanman family's strong association with Catholicism. Finally, it considers the possibility that Hatton acted as an informal protector of Lanman and his theatre.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"57 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129532610","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:Following G.E. Bentley's The Jacobean and Caroline Stage, scholars normally date William Rowley's tragedy All's Lost by Lust to 1619–20. Re-examining the evidence shows Bentley's interpretation to be faulty: the play could date to any point between 1611 and 1621, although similarities with other plays suggest that it was most likely written toward the latter end of that spectrum. Broader possibilities for the play's date help us to recognize overlooked connections among Rowley's plays, illuminate Christopher Beeston's relationship with the playing companies at the Phoenix playhouse, and facilitate the dating of some fragmentary playlists from the revels office.
{"title":"Re-Examining the Date of William Rowley's All's Lost by Lust","authors":"D. Nicol","doi":"10.12745/et.25.1.4783","DOIUrl":"https://doi.org/10.12745/et.25.1.4783","url":null,"abstract":"Abstract:Following G.E. Bentley's The Jacobean and Caroline Stage, scholars normally date William Rowley's tragedy All's Lost by Lust to 1619–20. Re-examining the evidence shows Bentley's interpretation to be faulty: the play could date to any point between 1611 and 1621, although similarities with other plays suggest that it was most likely written toward the latter end of that spectrum. Broader possibilities for the play's date help us to recognize overlooked connections among Rowley's plays, illuminate Christopher Beeston's relationship with the playing companies at the Phoenix playhouse, and facilitate the dating of some fragmentary playlists from the revels office.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133028231","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:I analyze Shakespeare's racialization of noise in The Tempest as an acousmatic phenomenon and suggest how the acousmatic—sound whose source remains hidden—is imagined as a weapon of resistance that the racialized noisome Other could use to resist aristocratic and colonial power. Shakespeare's play echoes the Algonquian-speaking Powhatan use of acousmatic singing in Tsenacommacah as a mode of warfare against the English in Virginia in 1611 with that of Caliban and his companions' (Stephano and Trinculo) singing revolt.
{"title":"Acousmatic Noise: Racialization and Resistance in The Tempest's 'New World' Soundscape","authors":"Mayra Cortes","doi":"10.12745/et.25.1.4484","DOIUrl":"https://doi.org/10.12745/et.25.1.4484","url":null,"abstract":"Abstract:I analyze Shakespeare's racialization of noise in The Tempest as an acousmatic phenomenon and suggest how the acousmatic—sound whose source remains hidden—is imagined as a weapon of resistance that the racialized noisome Other could use to resist aristocratic and colonial power. Shakespeare's play echoes the Algonquian-speaking Powhatan use of acousmatic singing in Tsenacommacah as a mode of warfare against the English in Virginia in 1611 with that of Caliban and his companions' (Stephano and Trinculo) singing revolt.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"25 5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116833693","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 identifies a previously unknown document in the Rye archive of the East Sussex Record Office. The document is a letter of safe passage for a group of twelve Italian men and women written by the English ambassador to France, Valentine Dale, in June 1574. Based on the names and other details Dale provides in the letter, this note argues that the group was a troupe of Italian performers touring to England—most likely the same troupe that entertained Queen Elizabeth at Windsor and Reading in July 1574 and the people of Dover in September or October 1574.
{"title":"Identifying a Troupe of Italian Players in England in 1574","authors":"Matteo Pangallo","doi":"10.12745/et.25.1.4571","DOIUrl":"https://doi.org/10.12745/et.25.1.4571","url":null,"abstract":"Abstract:This note identifies a previously unknown document in the Rye archive of the East Sussex Record Office. The document is a letter of safe passage for a group of twelve Italian men and women written by the English ambassador to France, Valentine Dale, in June 1574. Based on the names and other details Dale provides in the letter, this note argues that the group was a troupe of Italian performers touring to England—most likely the same troupe that entertained Queen Elizabeth at Windsor and Reading in July 1574 and the people of Dover in September or October 1574.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"75 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125958443","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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