Shakespeare in company:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Oxford
Oxford Univ. Press
2013
|
| Ausgabe: | 1. ed. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | XII, 357 S. Ill. |
| ISBN: | 9780199569311 |
Internformat
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Datensatz im Suchindex
| _version_ | 1804149687849058304 |
|---|---|
| adam_text | Contents
Conventions
and references
xi
List of abbreviations
xiii
List of illustrations
xiv
Prologue: Shakespeare s early life and the origins of commercial
theatre
(1576—1592) 1
PHASE I. SHAKESPEARE AS CONVENTIONAL
POET-PLAYWRIGHT (1592-1594)
1.
Imitation and identity
21
2.
The working conditions of the playwright
37
3.
Shakespeare as literary dramatist
56
PHASE II. SHAKESPEARE AS COMPANY
MAN (1594-1599)
4.
Control over casting
79
5.
The events of
1594 99
6.
Relational drama
Í09
7.
Shakespeare s singularity
125
PHASE III. SHAKESPEARE AS PLAYHOUSE
INVESTOR (1599-1608)
8.
The Globe partnership
149
9.
Robert
Armin 163
10.
The children s companies
195
11.
Richard Burbage
232
CONTENTS
PHASE
IV.
SHAKESPEARE IN THE COMPANY
OF
PLAYWRIGHTS AGAIN
(1608-1614)
12.
The events of
1608 251
13.
Shakespeare s late style
263
14.
Shakespeare and co-authorship
278
Conclusion
302
Appendix: Dates
0)
composition for Shakespeare s works 312
Works cited
315
Primary
315
Manuscripts
315
Editions printed before
1700 316
Editions printed after
1700 319
Secondary
326
Index
343
This book is about two very different
kinds of company. On the one hand it
concerns Shakespeare s poet-playwright
contemporaries, such as Marlowe,
Jonson,
and Fletcher. On the other, it examines the
contribution of his fellow actors, including
Burbage,
Armin,
and Kemp. Traditionally,
criticism has treated these two influences
in separation, so that Shakespeare is
considered either in relation to educated
Renaissance culture, or as a man
oí
the
theatre. Shakespeare
iu
Company unites
these perspectives. Bart van Ks argues that
Shakespeare s decision, in
1594,
to become
an investor (or sharer ) in the newly formed
Chamberlain s acting company
liad
a
transformative effect on his writing, moving
him beyond the conventions of Renaissance
dramaturgy. On the basis of the physical
distinctiveness of his actors, Shakespeare
developed relational drama , something no
previous dramatist had explored. This book
traces the evolution of that innovation,
showing how Shakespeare responded to
changes in the personnel of his acting
fellowship and to competing drama, such as
that produced for the children s companies
after
1599.
Covering over two decades of
theatrical history, van
Ľs
explores the
playwright s career through tour distinct
phases, ending on the conditions that
shaped Shakespeare s late style.
Paradoxically, Shakespeare emerges as a
playwright unique in company
—
special,
in part, because of the unparalleled working
conditions that he enjoved.
How did Shakespeare s working conditions affect his
artistic development? Shakespeare in Company is the first
book to systematically address that question, charting a series of
changes in the theatrical marketplace from
1592
to
1614.
Its central thesis is
that the formation of the Chamberlain s Men had a transformative effect on
Shakespeare s writing. Based on research into hundreds of manuscripts and
plays by contemporaries, the book gives a powerful account or the influence
of actors such as Kemp,
Armin,
and Burbage, not simply on individual
characters in Shakespeare s drama, but on the structure of his plays as a
whole. It examines other writers, including Marlowe,
Jonson,
and Fletcher,
and offers a new account of the place of co-authorship in the playwright s
career. An original picture thus emerges of Shakespeare as a theatrical
collaborator, investor, poet, and performer on the English stage.
|
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| discipline | Anglistik / Amerikanistik |
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