Women on Stage in Stuart DramaCambridge University Press, 2005 - 294 Women on Stage in Stuart Drama provides a 'prehistory' of the actress, filling an important gap in established accounts of how women came to perform in the Restoration theatre. Sophie Tomlinson uncovers and analyzes a revolution in theatrical discourse in response to the cultural innovations of two Stuart queens consort, Anna of Denmark and the French Henrietta Maria. Their appearances on stage in masques and pastoral drama engendered a new poetics of female performance, which registered acting as a powerful means of self-determination for women. The pressure of cultural change is inscribed in a plethora of dramatic texts that explore the imaginative possibilities inspired by female acting. These include plays by the key royalist women writers Margaret Cavendish, Duchess of Newcastle, and Katherine Philips. The material explored by Tomlinson illustrates a fresh vision of theatrical femininity and encompasses an unusually sympathetic interest in questions of female liberty and selfhood. |
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Strona viii
... Queen Henrietta Maria with Sir Jeffrey Hudson , 1633. Samuel H. Kress Collection , Image copyright 2004 Board of Trustees , National Gallery of Art , Washington . 3 Inigo Jones , Nymph of Niger . Devonshire Collection , Chatsworth ...
... Queen Henrietta Maria with Sir Jeffrey Hudson , 1633. Samuel H. Kress Collection , Image copyright 2004 Board of Trustees , National Gallery of Art , Washington . 3 Inigo Jones , Nymph of Niger . Devonshire Collection , Chatsworth ...
Strona 2
... Queen Anna and the French Queen Henrietta Maria at the early Stuart courts . These two foreign queens were consorts respectively to James VI of Scotland , who ruled England as James I from 1603 to 1625 , and his son Charles I , whose ...
... Queen Anna and the French Queen Henrietta Maria at the early Stuart courts . These two foreign queens were consorts respectively to James VI of Scotland , who ruled England as James I from 1603 to 1625 , and his son Charles I , whose ...
Strona 4
... Queen's acting , proceeded to urge James to mount the masques in which Anna would appear at his own expense , simultaneously countenancing the Queen's theatrical perform- ance and registering ' the increased political relevance of royal ...
... Queen's acting , proceeded to urge James to mount the masques in which Anna would appear at his own expense , simultaneously countenancing the Queen's theatrical perform- ance and registering ' the increased political relevance of royal ...
Strona 5
... Queen's gender . At the same time , Osborne's account of Elizabeth suggests a subtle shift of response towards this performative femininity : the Queen's behaviour he writes , was then thought something too Theatrical for a virgine ...
... Queen's gender . At the same time , Osborne's account of Elizabeth suggests a subtle shift of response towards this performative femininity : the Queen's behaviour he writes , was then thought something too Theatrical for a virgine ...
Strona 11
... Queen's acting , but also because some of the participants ' were disguised like men with beards ' . Female transvestism was one of the carnivalesque aspects of Henrietta Maria's entertainments ; the device persisted in the performance ...
... Queen's acting , but also because some of the participants ' were disguised like men with beards ' . Female transvestism was one of the carnivalesque aspects of Henrietta Maria's entertainments ; the device persisted in the performance ...
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action actors actress Anna of Denmark audience beauty Bellessa Ben Jonson Bianca Bonavent Broken Heart Calantha Cambridge University Press Carol Cartwright chastity Circe Circe's Cleopatra Coleorton comedy Comus court masque culture Cupid Cupid's Banishment CWKP dance Daniel's death discourse dramatists Duchess Duchess of Malfi Echo Elizabeth English Eumela Fairfield female performance feminine Ford's Gender Henrietta Maria heroic husband Hyde Park Inigo Jones Ithocles Jacobean James Shirley John Ford Jonson Katherine Philips Lady Frances Lady-Errant Lady's line in parentheses literary London Love's Sacrifice madness male Margaret Cavendish marriage masculine masquers McManus Messallina Milton Mistress Montagu's Moramante Newcastle nymphs Orgel Orgilus Oxford Paradise pastoral Penthea's Philips's play play's Poems political Pompey Queen Renaissance Renaissance Drama representation represented Revels role Rosaura's royal scene sexual Shakespeare's Shepherds shift Shirley Shirley's song speech stage Stephen Orgel Stuart Tempe Restored theatre theatrical Tragedy tragicomedy virtue William woman women writing
Popularne fragmenty
Strona 3 - I have heard of your paintings too, well enough ; God hath given you one face, and you make yourselves another...
Strona 6 - See here the reason of that which I touched before, — that women have no voice in Parliament. They make no laws, they consent to none, they abrogate none. All of them are understood either married or to be married, and their desires are to their husbands. I know no remedy, that some women can shift it well enough.
Strona 13 - Cage, a comedy, which wanteth, I must confess, much of that ornament, which the stage and action lent it, for it comprehending also another play or interlude, personated by ladies, * I must refer to your imagination, the music, the songs, the dancing, and other varieties, which I know would have pleas'd you infinitely in the presentment.