Renaissance Drama最新文献_第5页

Renaissance Drama Pub Date : 2020-03-01 DOI: 10.1086/708709

Alexander Paulsson Lash

{"title":"Ben Jonson’s Doors","authors":"Alexander Paulsson Lash","doi":"10.1086/708709","DOIUrl":"https://doi.org/10.1086/708709","url":null,"abstract":"hen Thomas Dekker, in his 1609 prose pamphlet The Gull’s Hornbook, describes how gallants should behave in the fashionable aisles w of St. Paul’s Cathedral, he encourages them to pay special attention to the doors: “first observe your doores of entrance, and your Exit; not much unlike the plaiers at the Theaters.” In noting how important doors of entrance and exit are to actors, Dekker is surely drawing on his own experience as a playwright. He may also have a more specific theatrical door in mind. Ben Jonson’s 1599 Every Man Out of His Humour includes a direct precursor to Dekker’s satirical look at behavior inside St. Paul’s, and this extended sequence, taking up the play’s third act, has its characters return again and again to the cathedral’s west door, a notorious site for the posting of advertisements. I propose that the attention lavished on this door is emblematic of Jonson’s dramaturgy. While “the plaiers at the Theaters” always needed to observe their entrances and exits, Jonson exploited the possibilities of the stage doors more consistently and creatively than any other period playwright. The crowded streets of London increasingly appear, in his plays, positioned offstage and out of sight. In turning to indoor settings, Jonson shows how control of doors allows for a larger mastery of urban space. For Jonson as playwright, this mastery extends into the theater itself. Inside the walls of a theater, characters and audience share an enclosed space, and Jonson uses this potentially claustrophobic situation to heighten both the comic energy and the antagonistic tensions that pass through the doors.","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"48 1","pages":"31 - 55"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/708709","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43217994","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}

引用次数: 1

“To Strike the Ear of Time”: Ben Jonson’s Poetaster and the Temporality of Art “敲响时间的耳朵”：本·琼森的诗人与艺术的暂时性

Renaissance Drama Pub Date : 2020-03-01 DOI: 10.1086/708711

J. Rickard

引用次数: 1

Performing the Sea: Fortune, Risk, and Audience Engagement in Pericles 表演海洋:伯里克利的财富、风险和观众参与

Renaissance Drama Pub Date : 2020-03-01 DOI: 10.1086/708967

Jane Hwang Degenhardt

{"title":"Performing the Sea: Fortune, Risk, and Audience Engagement in Pericles","authors":"Jane Hwang Degenhardt","doi":"10.1086/708967","DOIUrl":"https://doi.org/10.1086/708967","url":null,"abstract":"fter wielding the power to command storm and shipwreck throughout The Tempest, Prospero speaks an Epilogue in which he acknowledges a how his manipulation of the sea has always been subject to the indulgence of the audience. In comparing the audience’s compliance to favorable sea winds, Prospero’s speech plays upon a familiar association between theatrical performance and seafaring in the late sixteenth and early seventeenth centuries. The Prologue to ThomasMiddleton’sNoWit, NoHelp Like aWoman’s (1611) wonders “How is’t possible to please / Opinion tos’d in such wilde Seas?” given the sheer numbers of people who attend the theater and the diversity of their tastes. As Douglas Bruster has argued, The Tempest’s opening shipwreck can itself be read as an allegory for playhouse labor, since theatrical productions, like seafaring, required hard work and cooperation. Unwilling audiences interfered with this labor by disrupting the performance or its representational fictions, rather than helping to keep the ship afloat. Theater and seafaring also shared a precarious status as risky enterprises undergoing new forms of commercialization in early modern England. For early modern playwrights, the risks, dangers, and","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"48 1","pages":"103 - 129"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/708967","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49007186","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}

引用次数: 2

Reading Plays as Books: Interpreting Readers’ Marks and Marginalia in Early Modern Play Quartos 读剧如书：解读现代早期戏剧四重奏中的读者标记与边缘

Renaissance Drama Pub Date : 2020-03-01 DOI: 10.1086/708708

Hannah August

{"title":"Reading Plays as Books: Interpreting Readers’ Marks and Marginalia in Early Modern Play Quartos","authors":"Hannah August","doi":"10.1086/708708","DOIUrl":"https://doi.org/10.1086/708708","url":null,"abstract":"f the play is a book, it’s not a play.” Stephen Orgel’s claim has reverberated through the past two decades of scholarship in thefield of earlymodern drama, wending its way ever further from its original context in a discussion of how modern editors might or should render printed plays. One of the places it has resurfaced is in discussions of the historical perceptions of printed dramaheld by the earliest readers of Shakespeare and his contemporaries. Despite numerous claims for the “literariness” of early modern playbooks, Orgel’s statement has often been invoked in order to then be rejected or modified as part of a claim for printed drama’s theatricality.Richard Preiss, for instance, asserts that it “does not bear on the mentality of those earlymodern playgoers whowere being invited to attend performances and then to buy texts of them as modules of a single cultural activity.” Lucy Munro complicates the play/book dichotomy, arguing that it was mutable, and inhered not in the object but in the mode of reading: for early readers of John Marston’s The Fleer, “the playbook was sometimes a play, sometimes a book.” More recently, early modern readers have been tasked with the ability to read with “parted eye,” asHermia puts it inAMidsummer Night’s Dream, whereby they read","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"48 1","pages":"1 - 30"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/708708","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45456002","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}

引用次数: 0

Front Cover 前盖

Renaissance Drama Pub Date : 2020-03-01 DOI: 10.1086/710444

引用次数: 0

False Evidence and Deceptive Eyewitnesses: The Theatricality of Uncertainty in The Picture and Cymbeline 虚假证据与欺骗性目击者:《图画》与《辛白林》中不确定性的戏剧性

Renaissance Drama Pub Date : 2020-03-01 DOI: 10.1086/708713

L. Robertson

引用次数: 0

Jessica’s Silence and the Feminine Pyrrhonic in Shakespeare’s The Merchant of Venice 莎士比亚《威尼斯商人》中杰西卡的沉默与女性的皮罗尼克

Renaissance Drama Pub Date : 2020-03-01 DOI: 10.1086/708674

Suzanne M. Tartamella

引用次数: 1

Front Cover 封面

Renaissance Drama Pub Date : 2019-09-01 DOI: 10.1086/707922

引用次数: 0

To Nell and Back: Revisiting Mistress Quickly 去内尔和回来：快速拜访情妇

Renaissance Drama Pub Date : 2019-09-01 DOI: 10.1086/705891

R. Gaby, Alice Leonard, James D. Mardock, H. Ostovich

引用次数: 1

Ways of Seeing in Renaissance Theater: Speculating on Invisibility 文艺复兴时期戏剧中的观看方式:对隐形的推测

Renaissance Drama Pub Date : 2019-09-01 DOI: 10.1086/705888

G. Woods

{"title":"Ways of Seeing in Renaissance Theater: Speculating on Invisibility","authors":"G. Woods","doi":"10.1086/705888","DOIUrl":"https://doi.org/10.1086/705888","url":null,"abstract":"n a list of goods bought for his company, the Lord Admiral’s Men, Philip Henslowe recordsmaking a payment for a rather remarkable garment: “a robe for to goo invisibell.”However, Henslowe himself does not seem particularly impressed by his acquisition. For all its magical promise, this robe of invisibility sits innocuously in the middle of a list of other costumes purchased since April 3, 1598, including such basics as a “payer of long black wollen stockens.” Furthermore, the invisibility robe was not especially expensive. “Bowght” with “a gown for Nembia,” it is jointly priced at £3 and 10s. It is impossible to know howmuch of this sum was spent individually on the robe and how much on the gown, but comparison with other items in the inventory provides a sense of the relative cheapness of the double purchase. According to the same section of the accounts, Henslowe paid more than a pound more for a “black satten dublett” and a “payer of rownd howsse paned of vellevett,” and about twice as much for “a dublett of whitt satten layd thicke with gowld lace, and a payer of rowne pandes hosse of cloth of sylver, the panes laydwith gowld lace.” Invisibility came cheaper than Elizabethan glamour. But although the sumptuous garments are fastidiously","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"47 1","pages":"125 - 151"},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/705888","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46010082","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}

引用次数: 1