The Oxford Edition of the Complete Works of John Marston

该项目将创建约翰马斯顿（1576-1634）作品的第一个完整的批评版本。马斯顿是近代早期最重要的剧作家之一，他的重要性可与约翰·韦伯斯特、托马斯·米德尔顿或约翰·福特等著名剧作家相提并论。他创作了十几部幸存的戏剧，包括《不满者》和《荷兰妓女》，两卷诗集和两部宫廷娱乐作品，他的声音新颖而独特。他与同时代最重要的作家，包括莎士比亚、琼森和查普曼竞争和合作，他高度独特的风格的影响可以在1600年后转向更具讽刺意味和审美自我意识的英国戏剧写作模式中看到。马斯顿的作品从来没有作为一个整体进行过适当的编辑。最后一个全集版出版于20世纪30年代，但其内容不完整，其文本工作不可靠，其学术研究也早已过时。新版本将首次汇集马斯顿所有的诗歌和戏剧，并将详尽地审查许多早期印刷版本，以及他的作品幸存下来的少数手稿。它将在批判的基础上建立权威文本；提供最新和信息丰富的介绍和评论；并努力解决困扰马斯顿作品的作者争议。马斯顿的许多作品都是匿名出版的，或者没有作者的密切监督；有一些是与一个或多个作者合作的。因此，在确定正典的范围和限制方面存在相当大的问题。六部戏剧将需要仔细的语言审查，以确定它们是否全部或部分属于经典（或者，实际上，根本不属于经典）。马斯顿是一名律师的儿子，住在中寺，他属于法院学院的文化圈，伦敦的律师和年轻绅士们在这里享受着一个以精致和前卫品味著称的社会。他主要为“私人”剧团写作，这些剧团由青少年演员组成，在伦敦的室内剧场为精英观众表演，他们的戏剧风格往往是颠覆性的，具有挑战性的。该项目将深入探索法院社会的背景，以阐明马斯顿的写作产生的背景以及他所从事的知识和政治关注。它将在最近开业的山姆·沃纳梅克剧院（位于伦敦环球剧院）举办实践研讨会——这是一个类似马斯顿写作的剧场的现代重建——以阐明他的戏剧中鲜为人知的特征，并在历史敏感的条件下对不同戏剧的一系列场景进行实地测试。这将使对剧本文本的编辑工作能够从对它们作为表演戏剧的实际研究中获得观点。

The project will create the first complete critical edition of the works of John Marston (1576-1634). Marston was one of the most important playwrights of the early modern period: he is equal in significance to such well-known dramatists as John Webster, Thomas Middleton, or John Ford. The author of a dozen surviving plays, including 'The Malcontent' and 'The Dutch Courtesan', two volumes of verse and two courtly entertainments, he was an original and idiosyncratic voice. He competed and collaborated with the most important writers of his time, including Shakespeare, Jonson, and Chapman, and the impact of his highly distinctive style can be seen in the turn towards a more satirical and aesthetically self-conscious mode of writing English drama after 1600. Marston's works have never been properly edited as a body. The last collected edition was published in the 1930s, but its contents are incomplete, its textual work is unreliable, and its scholarship is long out of date. The new edition will bring together all Marston's poems and plays for the first time, and will scrutinize exhaustively the many early printed editions, and the handful of manuscripts, in which his works survive. It will establish an authoritative text on critical foundations; provide up-to-date and informative introductions and commentary; and endeavour to resolve the disputes over authorship which bedevil Marston's works. Many of Marston's works came into print anonymously, or without close oversight from their author; a number are collaborations with one or more authors. As a result there are considerable problems in defining the extent and limits of the canon. Six plays will need close linguistic scrutiny in order to determine whether they belong to the canon in whole or part (or, indeed, at all).The son of a lawyer and a resident of the Middle Temple, Marston belonged to the cultural world of the Inns of Court, where London's lawyers and young gentlemen enjoyed a society notable for its sophisticated and avant garde tastes. He wrote predominantly for the 'private' theatre companies, the troupes of adolescent actors performing for elite audiences at London's indoor playhouses, whose theatrical style was often subversive and challenging. This project will explore the background of Inns of Court society in depth in order to illuminate the context from which Marston's writing emerged and the intellectual and political concerns with which he engages. It will use practical workshops at the recently opened Sam Wanamaker Theatre (at the London Globe) -- which is a modern reconstruction of a playhouse similar to the kind for which Marston wrote -- in order to illuminate little-understood features of his dramaturgy and road-test a range of scenes from different plays in historically sensitized conditions. This will allow the editorial work on play texts to be informed by perspectives derived from practical study of them as performed drama.