The Actor as Playwright in Early Modern Drama
Nora Johnson's study of actors who wrote plays in early modern England uncovers important links between performance and authorship. The book traces the careers of Robert Armin, Nathan Field, Anthony Munday and Thomas Heywood, actors who were powerfully interested in marketing themselves as authors and celebrities; but Johnson contends that authorship as they constructed it had little to do with modern ideas of control and ownership. Finally, the book repositions Shakespeare in relation to actors, considering Shakespeare's famous silence about his own work as one strategy among many available to writers for the stage. The Actor as Playwright provides an alternative to the debate between traditional and materialist readers of early modern dramatic authorship, arguing that both approaches are weakened by a reluctance to look outside the Shakespearean canon for evidence.
What people are saying - Write a review
We haven't found any reviews in the usual places.
Publishing the fool Robert Armin and the collective production of mirth
The actorplaywright and the true poet Nathan Field Ben Jonson and the prerogatives of the author
Anthony Munday and the spectacle of martyrdom
Some zanie with his mimick action Thomas Heywood and the staging of humanist authority
the Shakespearean silence
absolutist Age plays Amends for Ladies Anthony Munday antitheatrical appears argued audience Bartholomew Fair becomes Ben Jonson Bussy D'Ambois Cambridge University Press career celebrity Chapman's chapter charisma claims clown collaborative construct cultural David Wiles death dramatic authorship E. K. Chambers early modern England elite Elizabethan English Roman Lyfe fact Feste Feste's figure forms Foucault Gunaikeion haue Helgerson Homer imagine improvisation John Field Jonson Jonsonian Kemp King literary London Lucrece martyr martyrdom masque Mathilda Moreover Munday's Nathan Field notion Oldcastle ownership performance play's players playwright Pleasant Dialogues pleasure poem poet popular position preface present professional puppet Puritan readers Renaissance reputation Richard Robert Armin role scene seems self-promotion sense Shakespeare Shakespeare's Clown Sir John Oldcastle Sir Thomas Skelton social sovereign speak speech stage Stephen Orgel story subjectivity suggests Tarlton textual theater Thomas Heywood thou Tutch Twelfth Night voice Weathercock Weimann words writing