The Oxford Edition of the Complete Works of John Marston

该项目将创建约翰马斯顿（1576年至1634年）的作品的第一个完整的关键版本。马斯顿是近代早期最重要的剧作家之一：他的重要性与约翰韦伯斯特、托马斯米德尔顿或约翰福特等著名剧作家不相上下。他创作了十几部幸存下来的戏剧，包括《不满者》和《荷兰妓女》，两卷诗集和两部宫廷娱乐剧，他是一个原创和独特的声音。他与他那个时代最重要的作家竞争和合作，包括莎士比亚，琼森和查普曼，他高度独特的风格的影响可以在1600年后转向更讽刺和美学自觉的英国戏剧写作模式中看到。马斯顿的作品从来没有被适当地编辑为一个身体。最后一个收集的版本是在20世纪30年代出版的，但它的内容是不完整的，它的文本工作是不可靠的，它的学术是早就过时了。新版本将汇集所有马斯顿的诗歌和戏剧的第一次，并将详尽审查许多早期印刷版本，和少数手稿，在他的作品生存。它将建立一个关键的基础上的权威文本;提供最新的和翔实的介绍和评论;并努力解决困扰马斯顿的作品的作者争议。马斯顿的许多作品都是匿名出版的，或者没有作者的密切监督;一些是与一个或多个作者合作的。因此，有相当大的问题，在确定的范围和限制的佳能。这六部戏剧需要严格的语言审查，以确定它们是否属于全部或部分（或者，实际上，根本不属于）经典。马斯顿是律师的儿子，也是中殿的居民，他属于法院律师协会的文化世界，在那里，伦敦的律师和年轻绅士享受着一个以其复杂和前卫品味而闻名的社会。他主要为"私人"剧团写作，这些剧团由青少年演员组成，在伦敦的室内剧场为精英观众表演，其戏剧风格往往具有颠覆性和挑战性。这个项目将深入探讨法院协会的社会背景，以阐明马斯顿的写作出现的背景和他所从事的知识和政治问题。它将利用最近开放的萨姆·沃纳梅克剧院（在伦敦地球仪）的实践讲习班-这是一个类似于马斯顿写作的那种剧场的现代重建-以阐明他的戏剧创作中鲜为人知的特点，并在历史敏感的条件下对不同戏剧中的一系列场景进行实地测试。这将使戏剧文本的编辑工作能够从对它们作为表演戏剧的实际研究中获得视角。

The project will create the first complete critical edition of the works of John Marston (1576-1634). Marston was one of the most important playwrights of the early modern period: he is equal in significance to such well-known dramatists as John Webster, Thomas Middleton, or John Ford. The author of a dozen surviving plays, including 'The Malcontent' and 'The Dutch Courtesan', two volumes of verse and two courtly entertainments, he was an original and idiosyncratic voice. He competed and collaborated with the most important writers of his time, including Shakespeare, Jonson, and Chapman, and the impact of his highly distinctive style can be seen in the turn towards a more satirical and aesthetically self-conscious mode of writing English drama after 1600. Marston's works have never been properly edited as a body. The last collected edition was published in the 1930s, but its contents are incomplete, its textual work is unreliable, and its scholarship is long out of date. The new edition will bring together all Marston's poems and plays for the first time, and will scrutinize exhaustively the many early printed editions, and the handful of manuscripts, in which his works survive. It will establish an authoritative text on critical foundations; provide up-to-date and informative introductions and commentary; and endeavour to resolve the disputes over authorship which bedevil Marston's works. Many of Marston's works came into print anonymously, or without close oversight from their author; a number are collaborations with one or more authors. As a result there are considerable problems in defining the extent and limits of the canon. Six plays will need close linguistic scrutiny in order to determine whether they belong to the canon in whole or part (or, indeed, at all).The son of a lawyer and a resident of the Middle Temple, Marston belonged to the cultural world of the Inns of Court, where London's lawyers and young gentlemen enjoyed a society notable for its sophisticated and avant garde tastes. He wrote predominantly for the 'private' theatre companies, the troupes of adolescent actors performing for elite audiences at London's indoor playhouses, whose theatrical style was often subversive and challenging. This project will explore the background of Inns of Court society in depth in order to illuminate the context from which Marston's writing emerged and the intellectual and political concerns with which he engages. It will use practical workshops at the recently opened Sam Wanamaker Theatre (at the London Globe) -- which is a modern reconstruction of a playhouse similar to the kind for which Marston wrote -- in order to illuminate little-understood features of his dramaturgy and road-test a range of scenes from different plays in historically sensitized conditions. This will allow the editorial work on play texts to be informed by perspectives derived from practical study of them as performed drama.