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Shakespeare in Company: 1599-1616

莎士比亚在公司：1599-1616

基本信息

批准号：
AH/H035192/1
负责人：
Bart Bastiaan Van Es
金额：
$ 10.24万
依托单位：
University of Oxford
依托单位国家：
英国
项目类别：
Fellowship
财政年份：
2010
资助国家：
英国
起止时间：
2010 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FH035192%2F1
关键词：
Shakespeare Company 1599 1616

项目摘要

This research (which will result in an Oxford University Press book) responds to a major critical separation in Shakespeare studies. There is currently a division between the idea of Shakespeare as 'literary dramatist' and the picture of him as 'man of the theatre'. My book combines those perspectives by exploring the literary effect of the playwright's decision to become a sharer in an acting company in the year 1594. The position of sharer in a prosperous company (which was enjoyed by no other playwright) gave Shakespeare not only a unique level of financial security but also a sustained and unparalleled control over the dramatic production of his work. To revise our understanding of Shakespeare's creative achievement, the book brings together two distinctive networks that have previously been examined in isolation. On the one hand, theatre historians have explored the nexus of performance, company formation, and playhouse finance; on the other, scholars of literary culture have examined the connections between classically informed Renaissance poet-playwrights. I provide an account that joins these two strands in the life of England's greatest writer. The book's approach is chronological, taking us from the first examples of Shakespeare's writing to the end of his career. Its opening section looks at professional authorship in the early 1590s before the formation of the Chamberlain's Men. I argue that Shakespeare's compositional practice during this period was strongly connected to that of other playwrights such as Greene, Peele, and Marlowe. Shakespeare, that is, began his writing career under circumstances that were not very different from those of his contemporaries. My second section explores the impact that joining the Chamberlain's Men had on Shakespeare. I make the case that, as a result of his new position as sharer, Shakespeare begins to write differently. His plays become less imitative and he abandons co-authorship; his characters become more distinctive and consistent in the way they speak. I look at dramaturgy, rehearsal, company finance, and at the character of individual performers (such as the clown, William Kemp). My book examines key Shakespearean works and compares them to writing by other dramatists of the same period. Ultimately, I contend that Shakespeare's knowledge of his ensemble, combined with the security of long-term dramatic and financial ownership, enabled the development of a new, distinctive dramaturgy. An AHRC Fellowship would allow me to complete this project. Further research is essential because developments in the seventeenth century bear out and illustrate the key contentions of the first half of the book. One key episode, for example, is the departure of Kemp. His replacement, Robert Armin, provided Shakespeare with a very different style of comic performance. Armin's own compositions, plus the known roles written for him by other dramatists, provide a wealth of material that remains largely unexplored by Shakespeare scholars. In the light of this evidence, I will provide new readings of the roles that Shakespeare crafted to the abilities of this performer (roles such as Touchstone, Feste, and the fool in Lear). The conclusion of this project will also set out the way that Shakespeare, in the final stages of his career, returns to more conventional patterns of composition. His late collaboration with Fletcher, I will suggest, is connected to Shakespeare's relative distance from dramatic performance in his final years. Key events in the history of the company (such as the acquisition of Blackfriars and the expansion of the sharing fellowship) will again be placed alongside stylistic developments. In this way, Shakespeare in Company will provide an innovative account of the playwright's professional and literary career.

这项研究（将导致牛津大学出版社的书）回应了莎士比亚研究中的一个主要的关键分离。目前有一个分歧之间的想法莎士比亚作为“文学剧作家”和图片他作为“人的戏剧”。我的书结合了这些观点，探讨了1594年剧作家决定成为一家表演公司的股东的文学影响。在一个繁荣的公司里担任股东（这是其他剧作家所没有的），不仅给了莎士比亚一个独特的经济保障，而且给了他对戏剧作品的持续和无与伦比的控制权。为了修正我们对莎士比亚创作成就的理解，本书将两个以前被孤立研究过的独特网络结合在一起。一方面，戏剧历史学家探索了演出、剧团组建和剧场财务的关系;另一方面，文学文化学者研究了文艺复兴时期古典诗人剧作家之间的联系。我提供了一个帐户，连接这两个方面在英国最伟大的作家的生活。这本书的方法是按时间顺序，把我们从莎士比亚的写作的第一个例子，他的职业生涯结束。它的开头部分着眼于16世纪90年代初张伯伦的人形成之前的专业作者。我认为，莎士比亚的创作实践在这一时期是密切相关的其他剧作家，如格林，皮尔和马洛。也就是说，莎士比亚是在与他同时代的人没有太大不同的情况下开始他的写作生涯的。我的第二部分探讨了加入张伯伦剧团对莎士比亚的影响。我提出的情况下，由于他的新位置作为共享，莎士比亚开始写不同的。他的戏剧变得不那么模仿，他放弃了合著;他的人物在说话的方式上变得更加独特和一致。我研究戏剧、排练、公司财务以及表演者个人的性格（比如小丑威廉肯普）。我的书考察了莎士比亚的主要作品，并将它们与同时期其他剧作家的作品进行了比较。最终，我认为莎士比亚对他的合奏的了解，加上长期戏剧和金融所有权的安全性，使一个新的，独特的戏剧艺术的发展成为可能。一个AHRC奖学金将允许我完成这个项目。进一步的研究是必不可少的，因为世纪的发展证实并说明了本书前半部分的关键论点。例如，一个关键的插曲是肯普的离开。他的继任者罗伯特·阿明为莎士比亚提供了一种截然不同的喜剧表演风格。阿明自己的作品，加上其他剧作家为他写的已知角色，提供了大量莎士比亚学者尚未探索的材料。根据这些证据，我将提供莎士比亚根据这位表演者的能力精心制作的角色（如试金石，费斯特和李尔王中的傻瓜）的新解读。这个项目的结论也将阐明莎士比亚在其职业生涯的最后阶段如何回归更传统的作曲模式。我认为，他与弗莱彻的后期合作，与莎士比亚晚年与戏剧表演的相对距离有关。公司历史上的关键事件（如收购Blackfriars和扩大共享奖学金）将再次与风格发展放在一起。通过这种方式，莎士比亚公司将提供一个剧作家的专业和文学生涯的创新帐户。