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Shakespeare and the Admiral's Men by Tom Rutter Pdf
This book examines the two-way influence between Shakespeare and his company's main competitors in the 1590s, the Admiral's Men. Providing a valuable addition to the thriving field of repertory studies, it offers new insights into Shakespeare's development as well as readings of important, sometimes neglected plays by his contemporaries.
James Burbage founded the Lord Chamberlain’s Men in 1594, during the reign of Elizabeth I of England. Its most famous member was, of course, William Shakespeare, he’s only a small part of the companies fascinating story. This varied company of actors and writers lived and worked around London, plying their craft. Although it was a beneficial time to be in the arts, Elizabethan England did provide its own dangers and pitfalls. The actors played their parts on the stage, but they had just as many demanding roles to play in their lives. The competition was fierce and brutal, and often the troupes were used as political tools of the warring aristocracy. Playhouses, and acting troupes, rose and fell at the whim of the rich and powerful. This book gives insight in the times and politics of one of the greatest acting companies.
The Admiral's Men is the acting company that staged Christopher Marlowe's plays while its companion company was giving the first performances of Shakespeare. Unlike the Shakespeare company, there is plenty of evidence available telling us what the Admiral's company did and how it staged its plays. Not only do we know far more about the design of its two playhouses, the Rose and the Fortune, than we know of any other playhouse from the time, including the Globe, but we have Henslowe's Diary. This recorded everything the Admiral's company performed from 1594 to 1600 and after, what the company bought to stage its plays, who performed which parts, who wrote which plays and even how much they were paid. The first history to be written of the Admiral's Men, this book tells us not only a great deal about the company's own work, but also how the Shakespeare company operated.
A Chronicle History of the Life and Work of William Shakespeare, Player, Poet, and Playmaker by Frederick Gard Fleay Pdf
IT is due to the reader of a new work on a subject already so often handled as the Life of Shakespeare to tell him the reasons for which I have thought it worth while to devote nearly ten years to its production.
Shakespeare's Companies by Terence G. Schoone-Jongen Pdf
Focusing on a period (c.1577-1594) that is often neglected in Elizabethan theater histories, this study considers Shakespeare's involvement with the various London acting companies before his membership in the Lord Chamberlain's Men in 1594. Locating Shakespeare in the confusing records of the early London theater scene has long been one of the many unresolved problems in Shakespeare studies and is a key issue in theatre history, Shakespeare biography, and historiography. The aim in this book is to explain, analyze, and assess the competing claims about Shakespeare's pre-1594 acting company affiliations. Schoone-Jongen does not demonstrate that one particular claim is correct but provides a possible framework for Shakespeare's activities in the 1570s and 1580s, an overview of both London and provincial playing, and then offers a detailed analysis of the historical plausibility and probability of the warring claims made by biographers, ranging from the earliest sixteenth-century references to contemporary arguments. Full chapters are devoted to four specific acting companies, their activities, and a summary and critique of the arguments for Shakespeare's involvement in them (The Queen's Men, Strange's Men, Pembroke's Men, and Sussex's Men), a further chapter is dedicated to the proposition Shakespeare's first theatrical involvement was in a recusant Lancashire household, and a final chapter focuses on arguments for Shakespeare's membership in a half dozen other companies (most prominently Leicester's Men). Shakespeare's Companies simultaneously opens up twenty years of theatrical activity to inquiry and investigation while providing a critique of Shakespearean biographers and their historical methodologies.
The different versions of Hamlet constitute one of the most vexing puzzles in Shakespeare studies. In this groundbreaking work, Shakespeare scholar Terri Bourus argues that this puzzle can only be solved by drawing on multiple kinds of evidence and analysis, including book and theatre history, biography, performance studies, and close readings.
Shakespeare's Companies by Terence G. Schoone-Jongen Pdf
Focusing on a period (c.1577-1594) that is often neglected in Elizabethan theater histories, this study considers Shakespeare's involvement with the various London acting companies before his membership in the Lord Chamberlain's Men in 1594. Locating Shakespeare in the confusing records of the early London theater scene has long been one of the many unresolved problems in Shakespeare studies and is a key issue in theatre history, Shakespeare biography, and historiography. The aim in this book is to explain, analyze, and assess the competing claims about Shakespeare's pre-1594 acting company affiliations. Schoone-Jongen does not demonstrate that one particular claim is correct but provides a possible framework for Shakespeare's activities in the 1570s and 1580s, an overview of both London and provincial playing, and then offers a detailed analysis of the historical plausibility and probability of the warring claims made by biographers, ranging from the earliest sixteenth-century references to contemporary arguments. Full chapters are devoted to four specific acting companies, their activities, and a summary and critique of the arguments for Shakespeare's involvement in them (The Queen's Men, Strange's Men, Pembroke's Men, and Sussex's Men), a further chapter is dedicated to the proposition Shakespeare's first theatrical involvement was in a recusant Lancashire household, and a final chapter focuses on arguments for Shakespeare's membership in a half dozen other companies (most prominently Leicester's Men). Shakespeare's Companies simultaneously opens up twenty years of theatrical activity to inquiry and investigation while providing a critique of Shakespearean biographers and their historical methodologies.
The Real War of the Theaters. Shakespeare's Fellows in Rivalry with the Admiral's Men, 1594-1603. Repertoires, Devices, and Types by Robert Boies Sharpe Pdf
William Shakespeare is the best-known writer in the English-speaking world. Contrary to popular myth, we actually know more about him and his career than we do about most dramatists of his era - the fruits of three hundred years of fascinated research. Whilst we know less than we would like about Shakespeare's private life, we do have a far clearer picture of his professional career, and of the theatres and social structures with which he was involved. And yet the significance of what we know is fiercely contested and we are challenged by a host of contradictions. Elizabethan actors were often classed as vagabonds yet some were also servants to royalty who performed at court. All the roles in Shakespeare's plays were acted by men, yet he wrote strong roles for women from Lady Macbeth to Rosalind. So was Shakespeare a feminist before his time? Richard Dutton tackles these and other issues which keep Shakespeare, the most influential literary life in literary history, at the centre of our cultural life today.
Copyright is by no means the only device for asserting ownership of a work. Some writers, including playwrights in the early modern period, did not even view print copyright as the most important of their authorial rights. A rich vein of recent scholarship has examined the interaction between royal monopolies, which have been identified with later notions of intrinsic authorial ownership, and the internal copy registration practices of the English book trades. Yet this dialogue was but one part of a still more complicated conversation in early modern England, James J. Marino argues; other customs and other sets of professional demands were at least as important, most strikingly in the exercise of the performance rights of plays. In Owning William Shakespeare James Marino explores the actors' system of intellectual property as something fundamentally different from the property regimes exercised by the London printers or the royal monopolists. Focusing on Hamlet, The Taming of the Shrew, King Lear, and other works, he demonstrates how Shakespeare's acting company asserted ownership of its plays through intense rewriting combined with progressively insistent attribution to Shakespeare. The familiar versions of these plays were created through ongoing revision in the theater, a process that did not necessarily begin with Shakespeare's original manuscript or end when he died. An ascription by the company of any play to "Shakespeare" did not imply that it was following a fixed, authorial text; rather, Marino writes, it indicates an attempt to maintain exclusive control over a set of open-ended, theatrically revised scripts. Combining theater history, textual studies, and literary theory, Owning William Shakespeare rethinks both the way Shakespeare's plays were created and the way they came to be known as his. It overturns a century of scholarship aimed at re-creating the playwright's lost manuscripts, focusing instead on the way the plays continued to live and grow onstage.
