How Disguise Tropes in the Chamberlain/King's Men's Repertory from 1594 to 1630 Responded to the Rolling Process of Change Within the Company

我建议研究一下，在1594-1630年间，张伯伦剧团(后来被称为国王剧团)表演的戏剧性伪装习俗如何影响我们对商业戏剧创作的理解。这篇论文将提供企业如何在商业上进行调整、利用和改变自己的技能以保持成功的背景；成功取决于它们的寿命。从1594年到1630年，张伯伦/国王的剧目中有66部涉及伪装的新作品，其中18部在1630年前复兴。这些日期标志着整个公司的过渡期，因为他们从第一代公司成员转移到第二代公司成员，从1619年伯贝奇的去世开始，到1630年海明格的去世结束。我认为，他们的持续成功依赖于公司继续使用越来越保守的伪装比喻来应对公司的结构变化，尽管这是一种转变。传统的戏剧性功能，如伪装的公爵，允许剧作家将人物置于他们通常的社交环境之外，参与当代关于政治、身份和性的辩论。我的论文将通过公司对伪装的呈现来确定早期现代社会对这三个主题的理解。我的目的是展示伊丽莎白时代和雅各布·伦敦的社会和文化景观如何决定了伪装比喻的制作，质疑这如何影响了我们对早期现代剧团与其剧作家之间关系的理解，特别是在该剧团的剧目变得越来越保守的情况下。在《女王的手下和他们的戏剧》(1998)中，董明林和麦克林认为，女王手下的崩溃是由于他们对过时的真实历史的依赖造成的。那么，多年来，当伪装仍然是他们剧目不可或缺的方面时，张伯伦的人是如何保持商业上的成功的呢？对公司剧目的一个方面的研究可以帮助我们加深对公司如何利用特定文体元素的理解，从而深入了解商业如何影响早期现代戏剧创作和戏剧观看。

I propose to research how dramatic disguise conventions performed by the Chamberlain's Men, later known as the King's Men, during 1594-1630 can affect our understanding of commercial playwriting. This thesis will provide context as to how companies adjusted commercially, utilising and varying their repertories to remain successful; success being determined by their longevity. From 1594 to 1630, the Chamberlain's/King's Men had 66 new works involving disguise in their repertory, 18 of which were revived before 1630. These dates are significant in marking a transitionary period across the company, as they shifted from the first generation of company members to the second, beginning with Burbage's death in 1619 and concluding with Heminge's death in 1630. I suggest that their continued success relied on the company's continued, albeit transforming, use of increasingly conservative disguise tropes in response to the structural changes to the company.The dramatic function of conventions such as the disguised Duke allowed playwrights to place characters outside of their usual social situations, engaging in contemporary debates on politics, identity, and sexuality. My thesis will identify early modern society's understanding of those three topics through the company's representation of disguise. I aim to show how the social and cultural landscape of Elizabethan and Jacobean London determined the crafting of disguise tropes, questioning how this has influenced our understanding of the relationships between an early modern playing company and its playwrights,especially as the company's repertory became increasingly conservative. In The Queen's Men and Their Plays (1998), McMillin and Maclean suggest that the Queen's Men's collapse was caused by their reliance on out-dated true histories. How, then, did the Chamberlain's Men remain commercially successful whiledisguise remained an integral aspect of their repertory for so many years? Research into one aspect of a company's repertory can help to develop our understanding of how companies utilised specific stylistic elements, leading to an in-depth knowledge of how commerciality influenced early modern playwritingand theatregoing.