A critical edition of John Fletcher's 'The Island Princess' for Arden Early Modern Drama.

约翰·弗莱彻为雅顿早期现代戏剧创作的《岛屿公主》的评论版。

• 批准号: AH/F013507/1
• 负责人: Clare McManus
• 金额: $ 3.17万
• 依托单位: University of Roehampton
• 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%2FF013507%2F1
• 关键词: critical; edition; John; Fletcher; Island

I seek support to complete a critical edition of John Fletcher's 1621 play, 'The Island Princess', and so to make it accessible to a wide range of readers in schools, universities and theatres.The edition's value lies primarily in the importance of Fletcher's play itself. 'The Island Princess' is the first English play to dramatise the East Indies, specifically the islands now called the Moluccas, but known in the seventeenth century by the trade which drove the nations of Europe to compete for their possession - the 'Spice Islands'. The play is also a central part of a canon of early English theatre representing the act and aftermath of European colonialism in the Americas and the 'East'. Fletcher reworks the setting and action of Shakespeare's 'Tempest' (an exotic island, the arrival of Europeans who compete for its control) to create a quite different play, one notable for its self-conscious handling of tragicomic structure and tropes of courtliness, and for its interrogation of the dramatic representation of colonialism and religious difference. Furthermore, this play is a crucial early English theatrical consideration of the 'East' and of Islam. In the current geopolitical climate, there are clear pedagogical advantages to having a modern-spelling version of 'The Island Princess' readily accessible for use in schools and universities. At present, however, the play exists only in an old-spelling edition (Williams, 1982) which, though valuable, keeps present-day readers at arm's length from the text and - in comparison to Shakespeare's much-modernised plays - perpetuates a skewed sense of an archaic, inaccessible Fletcherian dramaturgy. My edition corrects this misunderstanding by providing a fully modernised text, following the rigorous practices of the Arden Shakespeare Series. In addition, readers' engagement with the play is aided by a full critical apparatus. The introduction and historical collation explain the play's textual history. Textual notes record editorial decisions and ambiguities, and the commentary elucidates references, discusses ambiguities, and explains sources and literary, historical, cultural and classical allusions. On a broader level, the commentary further analyses Fletcher's use of language, his discourses of religious faith, conversion, maritime trade and exploration, and European colonialism.Readers will discover a play which speaks to both the seventeenth and twenty-first centuries. Early modern religious difference features prominently in recent criticism in the figures of the 'Turk', the martyr or the convert. Much, though, remains to be written about Fletcher's depiction of Islam and the cultural history of the 'Spice Islands'. In rehearsals for his 2002 RSC production of the play, director Gregory Doran used Giles Milton's popular historical novel 'Nathaniel's Nutmeg' to help his cast understand the significance of the 'Spice Islands' for a seventeenth-century writer and audience: a thorough scholarly treatment aimed squarely at the play itself is much over-due. My critical introduction fills this gap, unpacking the history and representation of European encounters with the Moluccas, and those between early modern Christianity and Islam, and between Catholicism and Protestantism. The introduction also deals with the play's performance history; its place in Fletcher's dramatic career and that of his playing company, the King's Men; the play's performance at court before James VI and I in 1621; its manipulation of the language of the Gunpowder Plot; and its dramatisation of the threatening figure of the foreign queen in Quisara, the princess of the title. So, the introduction situates the play in its historicised contexts, and in encouraging readers to their own understanding of the play, this edition will spark interest in the representation of the 'East' on the early modern English stage.

我寻求支持，以完成约翰弗莱彻的1621年发挥，'岛上的不幸'的评论版，以便使它能够在学校，大学和剧院的广大读者。该版本的价值主要在于弗莱彻的发挥本身的重要性。《岛屿公主》是第一部将东印度群岛戏剧化的英国戏剧，特别是现在被称为摩鹿加群岛的岛屿，但在17世纪，由于贸易驱使欧洲国家争夺他们的所有权--“香料群岛”而闻名。这部戏剧也是早期英国戏剧经典的核心部分，代表了欧洲殖民主义在美洲和“东方”的行为和后果。弗莱彻改编了莎士比亚的《暴风雨》（一个异国情调的岛屿，欧洲人的到来，他们争夺对它的控制权）的背景和行动，创造了一个完全不同的剧本，一个以其对悲喜剧结构和礼貌比喻的自觉处理，以及对殖民主义和宗教差异的戏剧表现的审问而闻名。此外，这出戏是一个关键的早期英语戏剧考虑的'东方'和伊斯兰教。在当前的地缘政治气候下，有一个现代拼写版本的“岛公主”容易在学校和大学使用，有明显的教学优势。然而，目前，这部戏剧只存在于一个旧的拼写版本（威廉姆斯，1982年），虽然有价值，使现代读者远离文本-与莎士比亚的现代化戏剧相比-使一种古老的，难以理解的弗莱彻戏剧的扭曲感永久化。我的版本通过提供完全现代化的文本来纠正这种误解，遵循雅顿莎士比亚系列的严格做法。此外，读者对戏剧的参与是由一个完整的关键设备的帮助。引言和历史校勘解释了剧本的文本历史。文本注释记录编辑决定和歧义，评论阐明参考文献，讨论歧义，并解释来源以及文学、历史、文化和古典典故。在更广泛的层面上，评论进一步分析了弗莱彻对语言的使用，他对宗教信仰、皈依、海上贸易和探索以及欧洲殖民主义的论述，读者会发现这是一部讲述17世纪和21世纪的戏剧。近代早期的宗教差异在最近的批评中突出地表现在“土耳其人”、殉道者或皈依者的形象上。然而，关于弗莱彻对伊斯兰教和“香料群岛”文化历史的描述，还有很多东西有待于写。在2002年皇家莎士比亚剧团的排演中，导演格雷戈里·多兰（Gregory Doran）引用了贾尔斯·米尔顿（Giles Milton）的流行历史小说《纳撒尼尔的肉豆蔻》（Nathaniel's Nutmeg），帮助演员们理解《香料群岛》对一个17世纪作家和观众的重要意义：一个针对戏剧本身的彻底的学术性处理是远远不够的。我的批判性介绍填补了这一空白，解开了欧洲与摩鹿加群岛相遇的历史和代表性，以及早期现代基督教和伊斯兰教之间的关系，以及天主教和新教之间的关系。导言还涉及到戏剧的表演历史;它在弗莱彻的戏剧生涯中的地位，以及他的戏剧公司，国王的人; 1621年在詹姆斯六世和我之前的宫廷演出;它对火药阴谋语言的操纵;以及它对Quisara公主中外国女王的威胁人物的戏剧化。因此，导言将戏剧置于其历史化的背景下，并鼓励读者自己理解戏剧，这个版本将引发人们对现代早期英国舞台上“东方”表现的兴趣。

项目成果

'Gunpowder Reformed: Performing Colonial Violence in 1621'

《火药改革：1621 年实施殖民暴力》

• 期刊: Society for Renaissance Studies, 2012
• 作者: McManus, C

John Fletcher, The Island Princess

约翰·弗莱彻《岛屿公主》

• 发表时间: 2013
• 作者: McManus, C