By Edel Lamb
This book investigates how the youngsters of Paul's (1599-1606) and the kids of the Queen's Revels (1600-13) outlined their gamers as teenagers and, through an research in their performs and theatrical practices, it examines early glossy theatre as a domain within which teenagers be able to articulate their rising selfhoods.
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Additional info for Performing Childhood in the Early Modern Theatre: The Children's Playing Companies (1599-1613) (Early Modern Literature in History)
Example text
It offers a fresh reading of these plays and, via an exploration of the recurring conventions and theatrical practices of these companies, plots a development in the understanding of the boy player between these two historical junctures. The child is crucial to the original performances in a material sense as the performer, yet is, I propose, also a dynamic image at the crux of the plays’ representations of gender and age. Through an investigation of the ways in which the child functions as an image and as an institutional category in the children’s theatres, I seek to uncover what the children’s repertoires impart about the early modern child.
155–6). This humorous comment on the adequacy of early modern staging techniques at disguising characters parodies the characters’ and spectators’ abilities to recognise a disguise. 106–7), but fails to recognise that it is his wife. May Day thus challenges the spectator to uncover and recognise the cross-gender disguise of Lucretio and Theagine which is at the centre of its subplot. Yet while these multiple layers of cross-dressing and disguise parody a common theatrical motif, the specific gendered Performing Age and Gender 35 dimension to this disguise and the varying degrees of audience awareness exploit the distinct identities of the players of Paul’s and the Queen’s Revels.
It is not the problems related to the performance of the male part or the female part that provoke Antonio’s comments, but the need to switch between them. 42 However, this desperate insistence that he cannot adequately play a range of gendered roles, that of Antonio, the lady and/or the virago, and easily switch between them, perhaps also relates to the gendered identity of the boy player. The strong denial is perhaps indicative of an underlying anxiety, not about the boy’s capacity to perform these roles but a fear that his own identity is indeterminable in terms of gender and sex.