Abstract:Donning and removing the performer's mask in full view of spectators creates an instant transformation between performer and spectator. Layers of pretence are created or changed which inform or obscure spectator and/or personage understanding. These moments turn and develop the action of the play in performance. Revelations of the personage are created by both donning the mask and removing it. In mumming practices, removal of the mask takes place in order to reveal the 'participant'. In plays, the moment of transformation reveals changed characteristics or identity of the personage. Not only do these kinds of turning points change performer/audience relationships, but they also affect and condition the structure of the performed event whether this be a play or sequence of mumming. Such pivotal moments are the subject of this article.
{"title":"Putting On and Removing the Mask: Layers of Performance Pretence","authors":"P. Butterworth","doi":"10.12745/ET.21.1.3261","DOIUrl":"https://doi.org/10.12745/ET.21.1.3261","url":null,"abstract":"Abstract:Donning and removing the performer's mask in full view of spectators creates an instant transformation between performer and spectator. Layers of pretence are created or changed which inform or obscure spectator and/or personage understanding. These moments turn and develop the action of the play in performance. Revelations of the personage are created by both donning the mask and removing it. In mumming practices, removal of the mask takes place in order to reveal the 'participant'. In plays, the moment of transformation reveals changed characteristics or identity of the personage. Not only do these kinds of turning points change performer/audience relationships, but they also affect and condition the structure of the performed event whether this be a play or sequence of mumming. Such pivotal moments are the subject of this article.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129884386","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:The records of Lincoln Cathedral possess the largest and most enduring evidence for cathedral-funded dramatic performance in medieval and early modern England. In the mid-sixteenth century earlier forms of financial backing were replaced by the rewarding of travelling players by the chapter. The absence of similar rewards in the civic accounts of the period makes the cathedral records unique in their documentation of touring players and school comedies in the city. The following essay demonstrates the unique role played by Lincoln Cathedral and reveals an alternative view of looking at who bestowed financial gifts on travelling players during the reign of Elizabeth I.
{"title":"'By consent of the whole chapter': Lincoln Cathedral's Rewards for Touring Players and School Comedies, 1561–1593","authors":"J. Burg","doi":"10.12745/ET.21.1.3304","DOIUrl":"https://doi.org/10.12745/ET.21.1.3304","url":null,"abstract":"Abstract:The records of Lincoln Cathedral possess the largest and most enduring evidence for cathedral-funded dramatic performance in medieval and early modern England. In the mid-sixteenth century earlier forms of financial backing were replaced by the rewarding of travelling players by the chapter. The absence of similar rewards in the civic accounts of the period makes the cathedral records unique in their documentation of touring players and school comedies in the city. The following essay demonstrates the unique role played by Lincoln Cathedral and reveals an alternative view of looking at who bestowed financial gifts on travelling players during the reign of Elizabeth I.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"402 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122720597","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 Beaumont and Fletcher's The Maid's Tragedy, we find Evadne, a female revenger who violently acts, avenging herself and the men around her. This article argues that the representational strategies of the play trouble our understanding of Evadne's gender, showing it as constructed via a nexus of sometimes contradictory fixations, fixations which are articulated through a rhetoric of bodies. Throughout this consideration, I connect this nexus with Evadne's proximity to, and enacting of, revenge.
{"title":"'[N]or bear I in this breast / So much cold spirit to be called a woman': The Queerness of Female Revenge in The Maid's Tragedy","authors":"Katherine M. Graham","doi":"10.12745/ET.21.1.3257","DOIUrl":"https://doi.org/10.12745/ET.21.1.3257","url":null,"abstract":"Abstract:In Beaumont and Fletcher's The Maid's Tragedy, we find Evadne, a female revenger who violently acts, avenging herself and the men around her. This article argues that the representational strategies of the play trouble our understanding of Evadne's gender, showing it as constructed via a nexus of sometimes contradictory fixations, fixations which are articulated through a rhetoric of bodies. Throughout this consideration, I connect this nexus with Evadne's proximity to, and enacting of, revenge.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"224 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127527262","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 'Beaumont400', placing them in the context of the four hundredth anniversary of Francis Beaumont's death, the performance of his plays in the early twenty-first century, and current developments in scholarship on Beaumont and Fletcher's works.
{"title":"Introduction: Beaumont400","authors":"Lucy Munro, T. Hill, Simon Smith, Eoin Price","doi":"10.12745/et.20.2.3254","DOIUrl":"https://doi.org/10.12745/et.20.2.3254","url":null,"abstract":"Abstract:This introduction outlines the essays in the Early Theatre Issues in Review forum 'Beaumont400', placing them in the context of the four hundredth anniversary of Francis Beaumont's death, the performance of his plays in the early twenty-first century, and current developments in scholarship on Beaumont and Fletcher's works.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131342603","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 examines the effects of women's roles in early modern English food marketplaces, highlighting ways that ordinary women could use their participation in food transactions to destabilize (and even subvert) power structures and garner authority. In Thomas Middleton's A Chaste Maid in Cheapside (1613) and Ben Jonson's Bartholomew Fair (1614), food informs a complete understanding of early modern attitudes toward shifting gender roles in the ever-evolving and expanding food economy.
{"title":"'Look What Market She Hath Made': Women, Commerce, and Power in A Chaste Maid in Cheapside and Bartholomew Fair","authors":"Keri Sanburn Behre","doi":"10.12745/ET.21.1.3270","DOIUrl":"https://doi.org/10.12745/ET.21.1.3270","url":null,"abstract":"Abstract:This essay examines the effects of women's roles in early modern English food marketplaces, highlighting ways that ordinary women could use their participation in food transactions to destabilize (and even subvert) power structures and garner authority. In Thomas Middleton's A Chaste Maid in Cheapside (1613) and Ben Jonson's Bartholomew Fair (1614), food informs a complete understanding of early modern attitudes toward shifting gender roles in the ever-evolving and expanding food economy.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133990988","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 investigates Francis Beaumont's seventeenth-century afterlife through material evidence left by early readers. Taking his immensely popular collaboration with John Fletcher, The Scornful Lady, as a test case, it traces patterns of shared interest and attention in different readers' engagements with the play in quarto. Considering commonplacing habits, readers' marks, and preparations for performance from a printed text, the article emphasizes fluidity between page- and stage-based engagements with drama in the seventeenth century. It also argues for the perhaps surprising receptiveness of Beaumont and Fletcher's drama to readers' reflections on and interrogations of gendered expectations, particularly regarding public female decorum.
{"title":"Reading Performance, Reading Gender: Early Encounters with Beaumont and Fletcher's The Scornful Lady in Print","authors":"Simon Smith","doi":"10.12745/ET.20.2.3255","DOIUrl":"https://doi.org/10.12745/ET.20.2.3255","url":null,"abstract":"Abstract:This essay investigates Francis Beaumont's seventeenth-century afterlife through material evidence left by early readers. Taking his immensely popular collaboration with John Fletcher, The Scornful Lady, as a test case, it traces patterns of shared interest and attention in different readers' engagements with the play in quarto. Considering commonplacing habits, readers' marks, and preparations for performance from a printed text, the article emphasizes fluidity between page- and stage-based engagements with drama in the seventeenth century. It also argues for the perhaps surprising receptiveness of Beaumont and Fletcher's drama to readers' reflections on and interrogations of gendered expectations, particularly regarding public female decorum.","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":"2017-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130256104","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:The purpose of this article is twofold. First, it introduces a subgenre of the German carnival play to a wider audience by providing editions and translations of three fifteenth-century Bavarian texts on the theme of preserving unmarried women during lent by packing them in salt. Second, it discusses the historical context focusing on ways in which modern notions of the 'carnivalesque' as a putative agent for positive social transformation are themselves subverted by the conservative nature of much late medieval comedy. Paradoxically, what begins as anti-authoritarian licence ends in the affirmation of a patriarchal status quo that regards the unmarried female body as a commodity preserved for future male delectation.
{"title":"The Salting Down of Gertrude: Transgression and Preservation in Three Early German Carnival Plays","authors":"S. Wright","doi":"10.12745/ET.20.2.3013","DOIUrl":"https://doi.org/10.12745/ET.20.2.3013","url":null,"abstract":"Abstract:The purpose of this article is twofold. First, it introduces a subgenre of the German carnival play to a wider audience by providing editions and translations of three fifteenth-century Bavarian texts on the theme of preserving unmarried women during lent by packing them in salt. Second, it discusses the historical context focusing on ways in which modern notions of the 'carnivalesque' as a putative agent for positive social transformation are themselves subverted by the conservative nature of much late medieval comedy. Paradoxically, what begins as anti-authoritarian licence ends in the affirmation of a patriarchal status quo that regards the unmarried female body as a commodity preserved for future male delectation.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131792428","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:The Knight of the Burning Pestle famously flopped when first performed c. 1607. Critical debate over its so-called 'privy mark of irony' has subsequently oscillated between those who argue that the play did not satirize the London citizenry trenchantly enough, and those who prefer the interpretation that the 'irony' was only too apparent, and that this alienated the audience. Few have fully interrogated the play's complex engagement with the early Jacobean citizen class and the City of London's livery companies. This paper argues that The Knight's presentation of citizens takes place in the context both of a theatre much more involved in civic structures, and of a city more imbued with performance, than is usually presumed.
摘要:《燃烧杵的骑士》在1607年首演时就以失败而闻名。关于它所谓的“讽刺的秘密标记”的批评争论随后在一些人之间摇摆不定，一些人认为这部戏对伦敦市民的讽刺不够尖锐，而另一些人则认为“讽刺”太明显了，这疏远了观众。很少有人充分质疑该剧与早期詹姆士一世时期的公民阶级和伦敦金融城(City of London)的涂装公司的复杂关系。本文认为，《骑士》对公民的描述发生在一个与公民结构密切相关的剧院和一个比通常认为的更充满表演的城市的背景下。
{"title":"'The Grocers Honour': Taking the City Seriously in The Knight of the Burning Pestle","authors":"T. Hill","doi":"10.12745/ET.20.2.3256","DOIUrl":"https://doi.org/10.12745/ET.20.2.3256","url":null,"abstract":"Abstract:The Knight of the Burning Pestle famously flopped when first performed c. 1607. Critical debate over its so-called 'privy mark of irony' has subsequently oscillated between those who argue that the play did not satirize the London citizenry trenchantly enough, and those who prefer the interpretation that the 'irony' was only too apparent, and that this alienated the audience. Few have fully interrogated the play's complex engagement with the early Jacobean citizen class and the City of London's livery companies. This paper argues that The Knight's presentation of citizens takes place in the context both of a theatre much more involved in civic structures, and of a city more imbued with performance, than is usually presumed.","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":"2017-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124797612","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 conflation of rhetorical and physical acts of rape and massacre in a range of early modern drama, culminating in a case study of the two phenomena in Alarum for London (1599). Rooting its analysis in the Lucrece myth, the essay demonstrates how prominent traditions of reading rape — as an attack on the soul, and as an attack on a city — provide a rubric through which Alarum can be understood. When enacted concomitantly, rape and massacre have the propensity to destroy body and soul, individual, and the wider society to which they belong.
摘要:本文探讨了一系列早期现代戏剧中强奸和屠杀的修辞和肢体行为的融合，并以1599年的《伦敦警报》(Alarum for London)中的这两种现象为例进行了研究。这篇文章以卢克蕾斯神话为分析基础，展示了如何将强奸解读为对灵魂的攻击和对城市的攻击，从而为理解阿勒鲁姆提供了一个框架。当强奸和屠杀同时发生时，有可能摧毁身体和灵魂、个人以及他们所属的更广泛的社会。
{"title":"Rape, Massacre, the Lucrece Tradition, and Alarum for London","authors":"G. Lucas","doi":"10.12745/ET.20.2.3208","DOIUrl":"https://doi.org/10.12745/ET.20.2.3208","url":null,"abstract":"Abstract:This article explores the conflation of rhetorical and physical acts of rape and massacre in a range of early modern drama, culminating in a case study of the two phenomena in Alarum for London (1599). Rooting its analysis in the Lucrece myth, the essay demonstrates how prominent traditions of reading rape — as an attack on the soul, and as an attack on a city — provide a rubric through which Alarum can be understood. When enacted concomitantly, rape and massacre have the propensity to destroy body and soul, individual, and the wider society to which they belong.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"96 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124183336","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:The 'O, o, o, o' that follows Hamlet's 'The rest is silence' in Shakespeare's first folio has often been derided, but this signal is found in five other Shakespeare plays and in the works of dramatists as varied as Jonson, Middleton, Fletcher, Massinger, and Brome to indicate that a figure is dying, mortally wounded, or sick, or to generate a comic effect. Shakespeare was adept at using the tools at hand, but to understand his distinctive implementation of those tools requires a working knowledge of the theatrical vocabulary shared at that time by playwrights, players, and playgoers.
摘要:莎士比亚第一对开本中哈姆雷特的“其余的都是沉默”后面的“O, O, O, O”经常被嘲笑，但这一信号在莎士比亚的其他五部戏剧以及琼森、米德尔顿、弗莱彻、马辛格和布罗姆等剧作家的作品中都可以找到，表明一个人物即将死去、受了致命伤或生病，或产生喜剧效果。莎士比亚擅长使用手边的工具，但要理解他对这些工具的独特运用，需要对当时剧作家、演员和观众共同使用的戏剧词汇有一定的了解。
{"title":"Much Virtue in O-Oh: A Case Study","authors":"Alan C. Dessen","doi":"10.12745/ET.20.2.3201","DOIUrl":"https://doi.org/10.12745/ET.20.2.3201","url":null,"abstract":"Abstract:The 'O, o, o, o' that follows Hamlet's 'The rest is silence' in Shakespeare's first folio has often been derided, but this signal is found in five other Shakespeare plays and in the works of dramatists as varied as Jonson, Middleton, Fletcher, Massinger, and Brome to indicate that a figure is dying, mortally wounded, or sick, or to generate a comic effect. Shakespeare was adept at using the tools at hand, but to understand his distinctive implementation of those tools requires a working knowledge of the theatrical vocabulary shared at that time by playwrights, players, and playgoers.","PeriodicalId":422756,"journal":{"name":"Early Theatre: A Journal associated with the Records of Early English Drama","volume":"31 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132653422","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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