Women at Play: Female Collaboration in Early London Performance 1560-1642

游戏中的女性：1560-1642 年伦敦早期表演中的女性合作

• 批准号: 2727104
• 金额: --
• 依托单位: University of Birmingham
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2022
• 资助国家: 英国
• 起止时间: 2022 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2727104
• 关键词: Women; Play; Female; Collaboration; Early

- To what extent is the female character - written by men and performed by boys - a visible product of invisible women's labour?- How were the women of the textile and apparel industries integral to the stability and popularity of the early theatres?- How was female playgoing regulated by the law and social convention? Does this reflect the way in which female work in the theatre was conceived 'outside' the stage?Early London Theatre is generally depicted as an 'All-Male Stage'; a homocentric industry which chose boys to be women at the exclusion of female endeavour. It is a concept based on two theories: first, that boy players were subversive, erotic quasi-women who titillated their audience with homoerotic desire, and second, that the London Stage which formed around men like Philip Henslowe and James Burbage was completely separate from women's labour (Dusinberre, 1998; Greenblatt, 1988; Howard, 1988; Jardine, 1983). It is a stance reinforced by much of nineteenth and early twentieth century scholarship on Elizabethan and Jacobean theatre starting with W. W. Greg's exclusion of the pawn accounts (and thus much of the female presence) from his edition of Henslowe's Diary (1904 and 1908), a decision only reversed in 1961.Recent developments in gender and queer studies (LaFleur et al, 2021; Traub, 2017) offer new frameworks to conceive the nature of femininity and gendered performance. Similarly, this project will focus on evidence of women's work as it existed in collaboration with the men who wrote and performed as female characters. While theatre scholarship has mainly conceived collaboration in terms of authorial and repertory studies (Dustagheer, 2017); early female performance must similarly be viewed as a dialogue between the body of the boy player and a network of women makers and facilitators. This project will contribute to scholarship of the early modern London by highlighting the hidden work of these women with a possibility of further public engagement in the larger theatrical field beyond academia.This work will build on the concept of dress as a social and economic construct (Hayward, 2009; Vincent, 2003; Rublack, 2010) as well as the nature of women's labour as significant though unregulated (Korda, 2011). This will involve analysing record books, inventories and playhouse documents (e.g. Edward Alleyn's papers, Henslowe's Diary, and the Revels Accounts), and the largely unexamined records of women owners, shareholders and leaseholders of early playing spaces. Case studies will include Anne Nockes and Goody Watson, intermediaries for Henslowe's pawnbroking; Alice Mountague, a tirewoman (maker of head attire) who supplied the Revels Office and Elizabeth I. I will trace the women who leased inns used as playing spaces as early as 1560 (seven years before the first record of The Red Lion, a converted inn to playhouse outside the city walls, and sixteen years before the first purpose built playhouse in 1576): Susan Denyse Margaret Craythorne, Alice Layston and Joanna Harrison; as well as the women of the early playhouses, Margaret Brayne, Susan Baskerville and Anne Bedingfeild.I will begin my archival research by investigating women involved in textiles and theatrical apparel through guild records (mostly in Guildhall Library, Drapers' Hall and Goldsmiths' Hall, London); documentary records such as account books and material records (e.g. Philip Henslowe's Diary, the Revels Accounts, The Great Wardrobe, all printed or digitised, and Edward Alleyn's papers in Dulwich College, London). I will research the female landlords, shareholders, hawkers, gatherers and patrons of the playhouses through documentary records such as the Bridewell Court Record Books (in Bridewell and Bethlem Archives, London) as well as legal depositions and wills (in The National Archives and LondonMetropolitan Archives).digital

- 由男性书写、由男孩表演的女性角色在多大程度上是无形女性劳动的可见产物？ - 纺织和服装行业的女性如何成为早期戏剧的稳定和受欢迎的组成部分？ - 法律和社会习俗如何规范女性戏剧表演？这是否反映了剧院中女性作品在舞台“之外”的构思方式？早期的伦敦剧院通常被描述为“全男性舞台”；这是一个以男性为中心的行业，选择男孩作为女性，排除女性的努力。这个概念基于两个理论：第一，男孩演员是具有颠覆性的、色情的准女性，他们用同性恋欲望来刺激观众；第二，围绕菲利普·亨斯洛和詹姆斯·伯比奇等男性形成的伦敦舞台与女性劳动完全分开（Dusinberre，1998；Greenblatt，1988；Howard，1988；Jardine，1983）。十九世纪和二十世纪早期关于伊丽莎白一世和詹姆士一世戏剧的学术研究强化了这一立场，首先是 W. W. 格雷格 (W. W. Greg) 从他的《亨斯洛日记》(1904 年和 1908 年) 版本中排除了典当帐户（以及因此的大部分女性存在），这一决定直到 1961 年才被逆转。 性别和酷儿研究的最新发展 (LaFleur et al, 2021; Traub，2017）提供了新的框架来构想女性气质和性别表现的本质。同样，该项目将重点关注女性作品的证据，因为它是与作为女性角色写作和表演的男性合作存在的。虽然戏剧奖学金主要设想在作者和剧目研究方面的合作（Dustagheer，2017）；同样，早期女性表演也必须被视为男孩演员的身体与女性制造者和促进者网络之间的对话。该项目将通过强调这些女性的隐秘工作，以及进一步公众参与学术界以外的更大戏剧领域的可能性，为早期现代伦敦的学术做出贡献。这项工作将建立在服装作为一种社会和经济结构的概念（Hayward，2009；Vincent，2003；Rublack，2010）以及女性劳动虽然不受监管但意义重大的性质（Korda，2011）的基础上。这将涉及分析记录簿、库存和剧场文件（例如爱德华·艾林的文件、亨斯洛的日记和狂欢账户），以及早期游乐场的女性所有者、股东和租赁人的大部分未经审查的记录。案例研究将包括安妮·诺克斯（Anne Nockes）和古迪·沃森（Goody Watson），他们是亨斯洛当铺的中间人；爱丽丝·蒙塔格 (Alice Mountague)，一位轮胎女工（头饰制造商），为狂欢办公室和伊丽莎白一世提供产品。我将追踪早在 1560 年就租用客栈作为游戏空间的妇女们（《红狮》（The Red Lion，城墙外的客栈改建为剧场）首张唱片发行的七年前，以及 1576 年第一座专门建造的剧场的十六年前）：苏珊·丹尼斯·玛格丽特·克雷索恩 (Susan Denyse Margaret Craythorne)、爱丽丝·莱斯顿 (Alice Layston) 和 乔安娜·哈里森；以及早期剧院的女性玛格丽特·布雷恩 (Margaret Brayne)、苏珊·巴斯克维尔 (Susan Baskerville) 和安妮·贝丁菲尔德 (Anne Bedingfeild)。文件记录，如账簿和材料记录（例如菲利普·亨斯洛的日记、狂欢记、大衣柜，全部印刷或数字化，以及爱德华·艾林在伦敦德威学院的论文）。我将通过布莱德韦尔法庭记录簿（位于伦敦布莱德韦尔和贝斯莱姆档案馆）以及法律证词和遗嘱（位于国家档案馆和伦敦大都会档案馆）等文献记录来研究剧院的女性房东、股东、小贩、采集者和赞助人。