The Fragmented Playtext in Shakespearean England, 1576-1642

莎士比亚笔下的英格兰支离破碎的剧本，1576-1642 年

• 批准号: AH/F002475/1
• 负责人: Tiffany Paula Stern
• 金额: $ 2.99万
• 依托单位: University of Oxford
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2008
• 资助国家: 英国
• 起止时间: 2008 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FF002475%2F1
• 关键词: Fragmented; Playtext; Shakespearean; England; 1576

The project is to complete a book, The Fragmented Playtext, which is under contract to CUP. This groundbreaking book will combine empirical historicism and textual interpretation to produce a new vision of the theatre's working processes, showing how those processes have shaped the writing and revising of playtexts.As well as being called 'play-makers' and 'poets', playwrights of the early modern period were frequently known as 'play-patchers' because of the common perception that a play was pieced together out of a collection of odds and ends: it was not a single whole entity. This aspect of the play is generally ignored by modern commentators who concentrate on the 'unity' of a text, believing that a playbook is as coherent a piece of literature as an epic poem. Various assumptions arise from the notion of a 'unified' playtext, for instance, the idea that revision happened over and indeed on a whole and entire play. But The Fragmented Playtext will argue that an absolutely complete text of a play often never entirely existed -- at least, not in one place. Prologues and epilogues were frequently written on separate pieces of paper from the plays they flanked, and were regularly updated or lost before publication; songs and letters were sometimes kept separately from their play and have not always survived to the printed text, leaving just a mark to show where they once were (usually the heading 'a song' 'the letter'). The body of a play was designed to be written and disseminated as separate cued parts for actors; for a playwright who did not intend to publish his text, those 'parts' will have been the form in which he expected his play to be read and studied: in bits. Plays were plundered for their useful fragments, and members of the audience took home snippets of playtext in their commonplace books to use entirely out of context in tavern-chatter and flirtations. Some printed texts / like Ben Jonson's Sejanus (1605) / even select their 'sententia' with quotation-marks, indicating which quotations the reader might choose to note down; such plays present themselves both as whole texts and as collections of fragments of varying worth to the reader.The Fragmented Playtext will provide chapters on each separate element that constituted a 'play' both on paper and in performance. It will consider, in particular, the loose bits of paper that made up a manuscript play, illustrating how often separable sheets became lost from their plays but survived in other books (jest-books, poetry-books) as other types of literature; it will show bills and title-pages hanging together on the posts of London as advertisements; it will show actors' parts taken home to separate houses around London to be studied, learned and, sometimes, altered. In short, it will show how the play was made up of patches of varying fixity and how, as a consequence, when texts were reworked and revised, they were altered in 'patches' rather than equally throughout. Arising from this are a number of questions of fundamental importance to the editor (what should be used as a copytext?), to the theatre historian (how does the play performed relate to the play printed?), and of essential importance also to the theoretician (in a play that is at its root fragmentary, how 'authored' is each section, and what is the text?)Using a huge body of fresh evidence about early modern theatre and early modern texts (garnered from over 1000 'new' printed and manuscript sources as well as several thousand 'known' sources), the book explores the piecemeal nature of the playtext in the theatre, redefining in fundamental ways what a play actually is.

该项目是完成一本书，破碎的剧本，这是根据合同杯。这本开创性的书将结合联合收割机经验历史主义和文本解释，产生一个新的视野剧院的工作过程，显示这些过程是如何形成的写作和剧本的修改。以及被称为“戏剧制造者”和“诗人”，现代早期的剧作家通常被称为“剧”，这是因为人们普遍认为一出戏是由零碎的东西拼凑而成的：它不是一个单一的整体。戏剧的这一方面通常被现代评论家所忽视，他们专注于文本的“统一性”，认为剧本和史诗一样是连贯的文学作品。从“统一的”剧本的概念中产生了各种各样的假设，例如，修改发生在整个剧本上的想法。但《支离破碎的剧本》会争辩说，一部戏剧的绝对完整的文本往往从来没有完全存在过--至少，不是在一个地方。序言和后记经常写在与剧本不同的纸上，并在出版前定期更新或丢失;歌曲和信件有时与剧本分开保存，并不总是保存在印刷文本中，只留下一个标记来显示它们曾经在哪里（通常是标题“一首歌”“信”）。剧本的主体部分被设计为作为单独的提示部分为演员编写和传播;对于一个不打算出版他的文本的剧作家来说，这些“部分”将是他期望他的剧本被阅读和研究的形式：以片段的形式。戏剧中有用的片段被掠夺一空，观众们从他们的通俗读物中带回家的剧本片段，完全脱离了上下文，用于酒馆的闲聊和调情。一些印刷文本（如本·琼森的《塞雅努斯》（1605））甚至选择带有引号的“剧本”，以表明读者可能选择记下哪些引文;这样的剧本既以完整的文本呈现，也以不同价值的片段集合呈现给读者。《片段剧本》将提供章节，介绍构成纸上和表演中“剧本”的每个单独元素。它将考虑，特别是，松散的纸张位，弥补了手稿发挥，说明如何经常可分离的床单成为失去了从他们的发挥，但在其他书籍生存（笑话书，诗歌书）作为其他类型的文学;它将显示法案和标题页一起挂在伦敦的职位作为广告;它将展示演员的角色被带回家，在伦敦周围的不同房子里学习，学习，有时还被修改。简而言之，它将展示这出戏是如何由不同固定性的补丁组成的，以及因此，当文本被重新加工和修改时，它们是在“补丁”中被改变的，而不是在整个过程中被改变的。由此产生了一些对编辑来说至关重要的问题（什么应该被用作文案？），对于戏剧历史学家（演出的戏剧与印刷的戏剧有什么关系？），对理论家来说也是至关重要的（在一部根本上是支离破碎的戏剧中，每一节是如何“创作”的，文本是什么？）使用大量关于早期现代戏剧和早期现代文本的新证据（从1000多个“新”印刷和手稿来源以及数千个“已知”来源中获得），本书探讨了戏剧文本的零碎性质，从根本上重新定义了戏剧的本质。

项目成果

Documents of Performance in Early Modern England

近代早期英格兰的表演文献

• 发表时间: 2009
• 作者: Stern