How Disguise Tropes in the Chamberlain/King's Men's Repertory from 1594 to 1630 Responded to the Rolling Process of Change Within the Company

我建议研究1594年至1630年间由Chamberlain's Men（后来被称为King's Men）表演的戏剧伪装惯例如何影响我们对商业剧本创作的理解。本文将提供公司如何进行商业调整的背景，利用和改变他们的剧目来保持成功；成功取决于他们的寿命。从1594年到1630年，Chamberlain's/King's Men在他们的剧目中有66部涉及伪装的新作品，其中18部在1630年之前重新上演。从1619年白贝芝去世到1630年赫明格去世，公司从第一代成员过渡到第二代成员，这些日子标志着整个公司的过渡时期。我认为，他们的持续成功依赖于公司继续使用越来越保守的伪装手法，以应对公司的结构性变化，尽管这种做法正在发生转变。像《伪装的公爵》这样的传统的戏剧功能允许剧作家把人物置于他们通常的社会环境之外，参与到当代关于政治、身份和性的辩论中。我的论文将通过公司对伪装的代表来确定早期现代社会对这三个主题的理解。我的目的是展示伊丽莎白和雅各比时代的伦敦的社会和文化景观是如何决定伪装修辞的制作的，并质疑这是如何影响我们对早期现代戏剧公司与其剧作家之间关系的理解的，特别是当公司的剧目变得越来越保守时。在《女王剧团和他们的戏剧》（1998）中，麦克米林和麦克林认为，女王剧团的衰败是由于他们对过时的真实历史的依赖。那么，这么多年来，《张伯伦的仆人》是如何在商业上保持成功的，而伪装仍然是他们剧目的一个组成部分呢？对剧团剧目的一个方面进行研究，有助于加深我们对剧团如何利用特定风格元素的理解，从而深入了解商业如何影响早期现代戏剧创作和戏剧表演。

I propose to research how dramatic disguise conventions performed by the Chamberlain's Men, later known as the King's Men, during 1594-1630 can affect our understanding of commercial playwriting. This thesis will provide context as to how companies adjusted commercially, utilising and varying their repertories to remain successful; success being determined by their longevity. From 1594 to 1630, the Chamberlain's/King's Men had 66 new works involving disguise in their repertory, 18 of which were revived before 1630. These dates are significant in marking a transitionary period across the company, as they shifted from the first generation of company members to the second, beginning with Burbage's death in 1619 and concluding with Heminge's death in 1630. I suggest that their continued success relied on the company's continued, albeit transforming, use of increasingly conservative disguise tropes in response to the structural changes to the company.The dramatic function of conventions such as the disguised Duke allowed playwrights to place characters outside of their usual social situations, engaging in contemporary debates on politics, identity, and sexuality. My thesis will identify early modern society's understanding of those three topics through the company's representation of disguise. I aim to show how the social and cultural landscape of Elizabethan and Jacobean London determined the crafting of disguise tropes, questioning how this has influenced our understanding of the relationships between an early modern playing company and its playwrights,especially as the company's repertory became increasingly conservative. In The Queen's Men and Their Plays (1998), McMillin and Maclean suggest that the Queen's Men's collapse was caused by their reliance on out-dated true histories. How, then, did the Chamberlain's Men remain commercially successful whiledisguise remained an integral aspect of their repertory for so many years? Research into one aspect of a company's repertory can help to develop our understanding of how companies utilised specific stylistic elements, leading to an in-depth knowledge of how commerciality influenced early modern playwritingand theatregoing.