Soundscapes of the Outdoor Playhouses, 1567‒1608

Lucy Munro
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Abstract

While Shakespeare’s uses of music at the Theatre and Globe playhouses have been the subject of a good deal of scholarly attention, the soundscapes of other outdoor playhouses such as the Curtain, Rose, Boar’s Head, Fortune, and Red Bull have been largely dismissed or ignored. Yet from Robert Greene in the late 1580s and early 1590s, to plays written specifically for the outdoor playhouses in the 1620s, to Richard Brome at the Globe and Red Bull in the 1630s, the outdoor playhouses presented varied and often markedly experimental soundscapes. This chapter examines the musical traditions of the outdoor playhouses in detail for the first time, offering a new perspective on Shakespeare’s musical practice. It surveys the period between the construction of the outdoor Red Lion playhouse in 1567 and the acquisition of the indoor Blackfriars by Shakespeare’s company, the King’s Men, paying particular attention to the late 1580s and 1590s, the years during which Shakespeare established himself as a dramatist. Looking at song and instrumental music, it draws on the histories of the playhouses, playing companies and individual actor-musicians, contemporary commentaries, and a range of plays and jigs, paying particular attention to the work of Robert Wilson, Robert Greene, Thomas Dekker, and William Kemp. It argues first that Shakespeare’s early musical practices are in line with those of other playwrights working for outdoor playhouses, and second that the musical traditions of those playhouses are more wide-ranging, original, and inventive than scholars have generally recognized.
户外剧场的声景(1567-1608
虽然莎士比亚在剧院和环球剧场对音乐的运用一直是学术界关注的主题,但其他户外剧场的声景,如“幕”、“玫瑰”、“野猪头”、“财富”和“红牛”,在很大程度上却被忽视了。从1580年代末到1590年代初的罗伯特·格林,到1620年代专门为露天剧场创作的戏剧,再到1630年代环球剧院和红牛剧院的理查德·布罗姆,露天剧场呈现了各种各样的,通常是实验性的音景。本章首次详细考察了露天剧场的音乐传统,为莎士比亚的音乐实践提供了一个新的视角。它调查了从1567年建造室外红狮剧院到莎士比亚的剧团国王剧团收购室内黑衣修士剧院这段时间,特别关注了1580年代末和1590年代,在这段时间里,莎士比亚确立了自己作为剧作家的地位。在歌曲和器乐方面,它借鉴了剧院的历史,演奏公司和个人演员音乐家,当代评论,以及一系列戏剧和快步舞,特别关注罗伯特·威尔逊,罗伯特·格林,托马斯·德克尔和威廉·肯普的作品。它认为,首先,莎士比亚的早期音乐实践与其他在户外剧院工作的剧作家是一致的,其次,这些剧院的音乐传统比学者们普遍认为的更广泛、更原创、更有创造力。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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