|Performances from 1616 to 1642|
|Written by Administrator|
|Wednesday, 16 March 2005 12:09|
A boy actor (left) plays Aspatia in this title page of The Maid's Tragedy by Francis Beaumont and John Fletcher (1619), which shows the wounding of the disguised Aspatia by her lover, Amintor. In this production, ascribed to Shakespeare's company, the King's Men, the boy actor plays a woman disguised as a man, as often in Shakespeare, with whom Fletcher collaborated.
PREFACE TO THE PERFORMANCE BIBLIOGRAPHY FOR 1616 TO 1642
From Shakespeare's death in 1616 to the closing of the theatres in 1642 by the Puritan Parliament, the London actors continued to perform in the open-air theatres such as the Globe, but more attention was progressively given to the so-called private indoor theatres such as Blackfriars, which charged more and addressed more prosperous and sophisticated audiences. The tastes of the royal court also became more influential, favoring elaborate settings designed by Inigo Jones. Indoor theatres had better acoustics and their less open stages facilitated the use of such scenery. These changes encouraged a subtler, lighter style of production, as illustrated by the vein of Shakespeare's successor as dramatist to the King's Men, John Fletcher. However, the late Shakespeare of the romances such as The Tempest already showed similar tendencies, confirmed by the two dramatists' co-operation on tragicomedies such as The Two Noble Kinsmen. Nevertheless, Shakespeare's earlier plays continued to be performed by many of the same actors who worked with him, such as John Lowin, whom Shakespeare supposedly directed as Hamlet and Henry VIII in All Is True, according to Shakespeare's godson, Sir William Davenant. There was no clean break in the stage tradition at this point such as followed for almost two decades after theatres closed in 1642.
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Astington, John H. "Actors and the Court after 1642." Early Modern Literary Studies Special Issue 15 (August 2007): 6.1-23
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Bentley, Gerald E., ed. The Seventeenth-Century Stage: A Collection of Critical Essays. Chicago: University of Chicago Press, 1968.
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Edwards, Philip, Gerald Eades Bentley, Kathleen McLuskie, and Lois Potter. The Revels History of Drama in English, Volume IV, 1613-60. London: Methuen, 1981.
Farley-Hills, David. Jacobean Drama: a Critical Study of the Professional Drama 1600-1625. London: Macmillan, 1988.
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Frost, David L. The School of Shakespeare: the Influence of Shakespeare on English Drama, 1600-1642. Cambridge: Cambridge University Press, 1968.
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Orgel, Stephen. The Illusion of Power: Political Theatre in the English Renaissance. Berkeley: University of California Press, 1975.
Price, Joseph G., ed. The Triple Bond: Plays, Mostly Shakespearean, in Performance. University Park: Pennsylvania State University Press, 1975.
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Raddadi, Mongi. Davenant's Adaptations of Shakespeare. Uppsala: Almquist and Winksell, 1979.
Salingar, Les. Dramatic Form in Shakespeare and the Jacobeans. Cambridge: Cambridge University Press, 1986.
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Waith, Eugene. The Pattern of Tragicomedy in Beaumont and Fletcher. New Haven: Yale University Press, 1952.
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Wrzbach, Natascha. The Rise of the English Street Ballad 1550-1650, translated by Gayna Walls. Cambridge: Cambridge University Press, 1990.
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Yates, Frances. Theatre of the World. London: Routledge and Kegan Paul, 1969.
Zesmer, David M. Guide to Shakespeare. New York: Barnes and Noble, 1976.
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