{"title":"1650年代的荷兰府:空位时期戏剧娱乐的证据和可能性","authors":"Christopher Matusiak","doi":"10.1353/hlq.2022.0003","DOIUrl":null,"url":null,"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.","PeriodicalId":45445,"journal":{"name":"HUNTINGTON LIBRARY QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.4000,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Holland House in the 1650s: Evidence and Possibilities of Interregnum Theatrical Entertainment\",\"authors\":\"Christopher Matusiak\",\"doi\":\"10.1353/hlq.2022.0003\",\"DOIUrl\":null,\"url\":null,\"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.\",\"PeriodicalId\":45445,\"journal\":{\"name\":\"HUNTINGTON LIBRARY QUARTERLY\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.4000,\"publicationDate\":\"2022-03-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"HUNTINGTON LIBRARY QUARTERLY\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1353/hlq.2022.0003\",\"RegionNum\":3,\"RegionCategory\":\"社会学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q4\",\"JCRName\":\"MATERIALS SCIENCE, CHARACTERIZATION & TESTING\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"HUNTINGTON LIBRARY QUARTERLY","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1353/hlq.2022.0003","RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q4","JCRName":"MATERIALS SCIENCE, CHARACTERIZATION & TESTING","Score":null,"Total":0}
Holland House in the 1650s: Evidence and Possibilities of Interregnum Theatrical Entertainment
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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