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Ben Jonson and Theatre is an research and party of Jonson's performs from the perspective of the theatre practitioner in addition to the instructor. Reflecting the expanding curiosity within the wider box of Renaissance drama, this e-book bridges the theory/practice divide by way of debating how Jonson's drama operates in functionality. Ben Jonson and Theatre comprises: * discussions with and among practitioners * essays at the staging of the performs * edited transcripts of interviews with modern practitioners the quantity contains contributions from Joan Littlewood, Sam Mendes, John Nettles, Simon Russell Beale and Geoffrey Rush, Oscar-winning actor for Shine.
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Additional resources for Ben Jonson and the Theatre: Performance, Practice, and Theory
How are actors to gain access to that inner dynamic of a play by Jonson and perceive or sense the stimulus it offers to their creativity at a reading of the text? This raises an issue about the texts available for reading. Comparing the 1616 Folio of Jonson’s Works with the 1623 Folio of Shakespeare’s, Andrew Gurr detects a marked and pointed difference between them. Shakespeare’s plays are printed from copy that in various ways was designed primarily for actors’ use; Jonson’s he sees as the product of careful editing, even rewriting and expansion, and designed for a readership.
In 1608, after ten years of use by a boy’s company, the Blackfriars had reverted to the possession of its owners, Richard and Cuthbert Burbage, who inherited it from their father in April 1597. They, having run the Globe through those ten years, from 1599 to 1608, as members of a consortium of five of the sharers from the playing company who were performing at the Globe, designed a new contract in 1608. In effect, they extended the ownership of the Blackfriars to the same consortium. Consequently, when the Blackfriars playhouse reopened in early 1610, after the long closure for the plague, while Jonson was still writing his play, the owners of the Blackfriars had become those five Lovewits: Richard and Cuthbert Burbage, John Heminges, Henry Condell and, last but far from least, that most famous lover of wit, William Shakespeare.
The layout of the modern edition slows down the pace of it all, as it becomes visually a series of questions and answers and in consequence there is little sense that the trio are (in modern parlance) winging it or that they have recovered a unity of intent after their divisive quarrel. The Folio text shows us why Doll was so anxious about the future of their ‘venture tripartite’ throughout the men’s aggression: everything depends on their ability to respond to any given situation as a team. The Folio text here implies much about pace, characterisation and a necessary ensemble work for the actors involved.