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.
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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
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absolutist Age plays Amends for Ladies Anthony Munday antitheatrical appears argued audience Bartholomew Fair becomes Ben Jonson Bussy D'Ambois career celebrity chapter charisma claims collaborative construct cultural David Wiles death dramatic authorship E. K. Chambers early modern England early modern stage elite Elizabethan English Roman Lyfe fact Feste Feste's figure Foole upon foole forms Foucault Gunaikeian haue Helgerson Homer imagine improvisation John Field Jonson Jonsonian Kemp King literary London Lucrece Maids of More-clacke 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 Rape of Lucrece readers Renaissance reputation Richard Robert Armin role scene seems self-promotion sense Shakespeares Clown Sir Thomas Skelton sovereign speaking spectacle speech Stephen Orgel story subjectivity suggests Tarlton textual theater Thomas Heywood thou Tutch Twelfth Night voice Weimann words writing