Staging and Representing the Scottish Renaissance Court

这个项目汇集了一个跨学科的学术研究人员和戏剧和电影专业人士的团队，研究大卫·林赛爵士的开创性戏剧《三产之恋》的文化意义。林赛的剧本是20世纪前苏格兰最重要的戏剧作品，也可以说是莎士比亚之前英国最重要的戏剧作品。它对苏格兰戏剧文化的影响是巨大的，尤其是因为，与大多数英国戏剧不同，它既是一种娱乐，也是对政治、国家和社会历史的干预，是对君主角色和政治表演“戏剧”的探索。众所周知，在16世纪，在三种不同的政治和社会环境、物理空间和不同的赞助下，《萨提尔》被演出了三次。1540年，在詹姆斯五世之前，第一个版本在林利斯戈宫的大厅（狮子厅）上演，引发了国王和他的神职人员之间关于教会腐败的激烈辩论。第二个和第三个版本，其中有各种不完善的文本以印刷和手稿的形式保存下来，在1552年在法夫的库帕尔堡（Cupar, Fife）在公民政要和市民面前进行了户外表演，在1554年在爱丁堡的卡尔顿山（Calton Hill）在摄政王玛丽·吉斯（Mary of Guise）、议会、贵族和苏格兰首都的人民面前进行了表演。每个版本都提出了一些深刻的问题，包括文艺复兴时期君主制的本质、苏格兰政治中大众声音的作用、苏格兰公民身份、民族和宗教身份的本质，以及公民社会的道德结构——但这些问题都是在不同的社会和文化选区之前提出的。首先，这部作品是斯图亚特宫廷礼仪文化的一部分，既是为国王表演，也是为国王表演，讲述詹姆斯和他的议会直接关注的政治和宗教改革问题。第二季和第三季是在苏格兰玛丽女王（Mary Queen of Scots）的少数派时期上演的，该剧提出了一些潜在的颠覆性问题，比如王权的本质（“什么是国王？”）、国家地位、个人和集体的改革责任，面对的是一个更加多样化、潜在冲突的社会各阶层观众。戏剧本身强调了对这些问题的讨论在等级社会中显然会引起的压力，通过反复上演大众声音代表（《公益约翰》和《贫民》）对舞台空间的破坏性入侵，以及颠覆性的社会力量人格化，如宗教福音（《真理》）、欺骗、愚蠢、愚蠢、公共压迫和普通盗窃。最近对Ane Satyre的研究大大增加了我们对其在早期现代苏格兰历史中的作用的理解。在米尔（《苏格兰的中世纪戏剧》（1927））和坎特罗维茨（《戏剧寓言：林赛的《三重庄园》（1974））、艾丁顿(《苏格兰文艺复兴时期的宫廷与文化》（1994）和沃克（1989、1998、2007、2008）的基础上，探讨了苏格兰宫廷和城市文化背景及其激进的戏剧和政治动态；而McGavin（2007）则为更广泛地分析前现代苏格兰文化中的表演带来了新的复杂性。自泰龙·格思里（Tyrone Guthrie）在1948年爱丁堡艺术节上的复兴以来，人们对这部戏剧的兴趣同样集中在它的现代含义上，这部戏剧强调了它在1550年代的影响与战后苏格兰社会的影响之间的共鸣，编辑（莱尔（1989），沃克（2000））和导演们都把这部戏剧置于当代苏格兰与过去对话的纽带上。该项目旨在为新世纪的对话以及在新下放的联合王国关于苏格兰过去的辩论的背景下提供明确丰富的研究细节。

This project brings together an interdisciplinary team of scholarly researchers and theatre and film professionals to research the cultural significances of Sir David Lyndsay's seminal drama 'Ane Satyre of the Thrie Estaitis'. Lindsay's play is the most important dramatic text produced in Scotland before the 20th century, and arguably the most important pre-Shakespearean dramatic work produced in the UK. Its influence on Scottish dramatic culture has been immense, not least because, unlike most British drama, it is as much an intervention in political, national and social history and an exploration of the role of the monarch and the performative 'drama' of politics, as it is a piece of entertainment. Ane Satyre is known to have been performed three times in the course of the 16th century, in three different political and social situations, physical spaces and under different auspices. The first version, which is attested to by an eye-witness report, was performed in the Great Hall (Lion Chamber) at Linlithgow Palace in 1540, before James V, and led to a heated debate between the king and his clergy about the corruption of the church. The second and third versions, for which a variously imperfect text survives in printed and manuscript form, were performed outdoors in the burgh of Cupar, Fife (1552) before civic dignitaries and townsfolk, and on Calton Hill, Edinburgh (1554) before the regent Mary of Guise, the council, nobility and people of the Scottish capital.Each version raises profound questions about the nature of Renaissance monarchy, the role of the popular voice in Scottish politics, the nature of Scottish civic, national and religious identity, and the moral fabric of civil society - but does so before different social and cultural constituencies. In the first, the production was part of the ceremonial culture of the Stuart court, a performance both to and for the king, addressing issues of political and religious reformation of immediate concern to James and his council. In the second and third, performed during the minority of Mary Queen of Scots, the play raised potentially subversive issues about the nature of kingship ('what is ane king?), nationhood and individual and collective responsibility for reform before a much more diverse and potentially conflicted audience of all social classes. And the play itself stages the stresses that discussion of such questions would clearly have evoked in a hierarchical society, by repeatedly staging disruptive incursions into the stage space by representatives of the popular voice (John the Commonweal and Pauper) and subversive personifications of social forces such as religious evangelism (Veritas), Deceit, Folly, Folly, Public Oppression and Common theft.Recent research on Ane Satyre has added substantially to our understanding of its role in early-modern Scottish history. Building on Mill (Medieval Plays in Scotland (1927)) and Kantrowitz, (Dramatic Allegory: Lindsay's 'Satyre of the Thrie Estaitis' (1974)), Edington (Court and Culture in Renaissance Scotland (1994) and Walker (1989, 1998, 2007, 2008) have explored both its courtly and urban cultural contexts and its radical dramatic and political dynamics; while McGavin (2007) has brought a new sophistication to analysis of performance in the culture of pre-Modern Scotland more widely. An equally powerful strand of interest in the play has focused on its modern implications, since the Tyrone Guthrie revival for the Edinburgh Festival (1948), which stressed the resonances between its impact in the 1550s and its implications for post-War Scottish society, editors (Lyall (1989), Walker (2000)), and directors have situated the play at the nexus of a dialogue between contemporary Scotland and its past. This project intends to provide definitive richness of research detail to that dialogue for a new century and in the context of debates about the Scottish past in a newly devolved United Kingdom.