Women at Play: Female Collaboration in Early London Performance 1560-1642

- 在多大程度上，由男人写的、由男孩表演的女性角色是无形的女性劳动的有形产品？纺织和服装行业的妇女是如何成为早期剧院稳定和受欢迎的一部分的？法律和社会习俗是如何规范女性戏剧的？这是否反映了戏剧中女性作品是在舞台之外构思的方式？早期的伦敦戏剧通常被描绘成一个“全男性的舞台”;一个以男性为中心的行业，选择男孩成为女性，排除女性的努力。这一概念基于两个理论：第一，男演员是颠覆性的、色情的准女性，他们用同性恋的欲望刺激观众;第二，围绕菲利普·亨斯洛和詹姆斯·伯比奇这样的男性形成的伦敦舞台与女性的劳动完全分离（Dusinberre，1998; Greenblatt，1988;霍华德，1988; Jardine，1983）。这一立场被19世纪和世纪早期的许多学者所强化，这些学者从W。W.格雷格从他的《亨斯洛日记》（1904年和1908年）中排除了典当账户（以及大部分女性的存在），这一决定直到1961年才被推翻。性别和酷儿研究的最新发展（LaFleur等人，2021; Traub，2017）提供了新的框架来构思女性气质和性别表现的本质。同样，该项目将侧重于妇女与作为女性角色写作和表演的男子合作的工作证据。虽然戏剧奖学金主要是在作者和剧目研究方面进行合作（Dustagheer，2017）;早期女性表演必须同样被视为男孩球员的身体与女性制造者和促进者网络之间的对话。该项目将通过强调这些女性的隐藏工作，为早期现代伦敦的学术研究做出贡献，并有可能让公众进一步参与学术界以外更大的戏剧领域。该作品将建立在服装作为社会和经济结构的概念之上（海沃德，2009年; Vincent，2003年; Rublack，2010年）以及妇女劳动的性质虽然不受管制，但也很重要（Korda，2011年）。这将涉及分析记录簿、库存和游戏室文件（例如爱德华·阿莱恩的文件、亨斯洛的日记和狂欢节账目），以及早期游戏室的女业主、股东和承租人的基本上未经审查的记录。案例研究将包括安妮·诺克斯和古迪沃森，他们是亨斯洛典当行的中间人;爱丽丝·蒙塔格，一个为狂欢办公室和伊丽莎白一世提供服务的轮胎女工（头饰制造商）。我将追溯到早在1560年就租用旅馆作为游戏场所的妇女（7年前的第一个记录的红狮，一个转换客栈到剧场外的城墙，和十六年前的第一个专门建造的剧场在1576年）：苏珊丹尼斯玛格丽特Craythorne，爱丽丝莱斯顿和乔安娜哈里森;以及早期剧场的女性，玛格丽特·布雷恩，苏珊·巴斯克维尔和安妮·贝丁菲尔德。我将开始我的档案研究，通过调查妇女参与纺织品和戏剧服装通过公会记录（主要收藏在伦敦的市政厅图书馆、德雷珀厅和金匠厅）;文件记录，如账簿和材料记录（如菲利普·亨斯洛的日记、狂欢账户、大衣柜，全部印刷或数字化，以及伦敦杜尔维奇学院的爱德华·艾伦的论文）。我将研究女性房东，股东，小贩，采集者和剧院的赞助人通过文件记录，如Bridewell法院记录簿（在Bridewell和Bethlem档案馆，伦敦）以及法律的证词和遗嘱（在国家档案馆和伦敦大都会档案馆）。

- To what extent is the female character - written by men and performed by boys - a visible product of invisible women's labour?- How were the women of the textile and apparel industries integral to the stability and popularity of the early theatres?- How was female playgoing regulated by the law and social convention? Does this reflect the way in which female work in the theatre was conceived 'outside' the stage?Early London Theatre is generally depicted as an 'All-Male Stage'; a homocentric industry which chose boys to be women at the exclusion of female endeavour. It is a concept based on two theories: first, that boy players were subversive, erotic quasi-women who titillated their audience with homoerotic desire, and second, that the London Stage which formed around men like Philip Henslowe and James Burbage was completely separate from women's labour (Dusinberre, 1998; Greenblatt, 1988; Howard, 1988; Jardine, 1983). It is a stance reinforced by much of nineteenth and early twentieth century scholarship on Elizabethan and Jacobean theatre starting with W. W. Greg's exclusion of the pawn accounts (and thus much of the female presence) from his edition of Henslowe's Diary (1904 and 1908), a decision only reversed in 1961.Recent developments in gender and queer studies (LaFleur et al, 2021; Traub, 2017) offer new frameworks to conceive the nature of femininity and gendered performance. Similarly, this project will focus on evidence of women's work as it existed in collaboration with the men who wrote and performed as female characters. While theatre scholarship has mainly conceived collaboration in terms of authorial and repertory studies (Dustagheer, 2017); early female performance must similarly be viewed as a dialogue between the body of the boy player and a network of women makers and facilitators. This project will contribute to scholarship of the early modern London by highlighting the hidden work of these women with a possibility of further public engagement in the larger theatrical field beyond academia.This work will build on the concept of dress as a social and economic construct (Hayward, 2009; Vincent, 2003; Rublack, 2010) as well as the nature of women's labour as significant though unregulated (Korda, 2011). This will involve analysing record books, inventories and playhouse documents (e.g. Edward Alleyn's papers, Henslowe's Diary, and the Revels Accounts), and the largely unexamined records of women owners, shareholders and leaseholders of early playing spaces. Case studies will include Anne Nockes and Goody Watson, intermediaries for Henslowe's pawnbroking; Alice Mountague, a tirewoman (maker of head attire) who supplied the Revels Office and Elizabeth I. I will trace the women who leased inns used as playing spaces as early as 1560 (seven years before the first record of The Red Lion, a converted inn to playhouse outside the city walls, and sixteen years before the first purpose built playhouse in 1576): Susan Denyse Margaret Craythorne, Alice Layston and Joanna Harrison; as well as the women of the early playhouses, Margaret Brayne, Susan Baskerville and Anne Bedingfeild.I will begin my archival research by investigating women involved in textiles and theatrical apparel through guild records (mostly in Guildhall Library, Drapers' Hall and Goldsmiths' Hall, London); documentary records such as account books and material records (e.g. Philip Henslowe's Diary, the Revels Accounts, The Great Wardrobe, all printed or digitised, and Edward Alleyn's papers in Dulwich College, London). I will research the female landlords, shareholders, hawkers, gatherers and patrons of the playhouses through documentary records such as the Bridewell Court Record Books (in Bridewell and Bethlem Archives, London) as well as legal depositions and wills (in The National Archives and LondonMetropolitan Archives).digital