Disguise on the Early Modern English Stage

Peter Hyland

• Publisher: Routledge
• Year: 2016
• Print ISBN:
  9780754641520
• eBook ISBN:
  9781317149644
• Topic: Literature
• Subtopic: Literary Criticism
• Index: Literature

Disguise devices figure in many early modern English plays, and an examination of them clearly affords an important reflection on the growth of early theatre as well as on important aspects of the developing nation. In this study Peter Hyland considers a range of practical issues related to the performance of disguise. He goes on to examine various conceptual issues that provide a background to theatrical disguise (the relation of self and "other", the meaning of mask and performance). He looks at many disguise plays under three broad headings. He considers moral issues (the almost universal association of disguise with "evil"); social issues (sumptuary legislation, clothing, and the theatre, and constructions of class, gender and national or racial identity); and aesthetic issues (disguise as an emblem of theatre, and the significance of disguise for the dramatic artist). The study serves to examine the significant ways in which disguise devices have been used in early modern drama in England.

Index

• Abel, Lionel 94
• accents 39
• acting styles 21–2
• Adelman, Janet 78
• Admiral’s Men 6–7, 7–8, 21, 29, 91–2
• Agnew, Jean-Christophe 4
• The Alchemist (Jonson) 18–19, 42, 106–7, 135–6, 145–6
• Alleyn, Edward 2, 7–8, 18, 21, 91
• The Anatomy of Abuses (Stubbes) 126
• antifeminism 76, 126
• antitheatrical hostility 1, 127–8
• antitheatrical plays 105–10
• antitheatrical tracts 114
• Antonio and Mellida (Marston) 23–4, 55, 60–61, 96–7
• Antonio’s Revenge (Marston) 41, 48
• Aristotle 32, 115
• As You Like It (Shakespeare) 20, 27, 50–51, 53–4, 75, 92–3
• The Atheist’s Tragedy (Tourneur) 48, 73
• audience manipulation 76–7
• audiences 34, 112–13

• Baldwin, Frances E. 28
• Barish, Jonas 122, 126
• Barthelemey, Anthony 148
• Bartholomew Fair (Jonson) 17, 60, 107
• Barton, Anne 87
• beards 56
• Beaumont and Fletcher 76–7
• Beckerman, Bernard 7–8
• Beggars’ Bush (Fletcher) 108–9
• Beier, A.L. 138
• Berggren, Paula S. 16
• Bevington, David M. 115
• The Bird in a Cage (Shirley) 25
• blackface disguises 40, 146–50
• The Blind Beggar of Alexandria (Chapman) 3, 7, 8, 17, 18, 91, 98–9, 143
• The Blind Beggar of Bednal Green (Chettle and Day) 7, 49–50
• B...

Table of contents

• Cover Page
• Half Title Page
• Title Page
• Copyright Page
• Table of Contents
• Dedication
• Acknowledgements
• Bibliographical Note
• Introduction
• Disguise on the Early Modern Stage
• The Performance of Disguise
• “Tis I”: Revelations
• Disguise and Genre
• Disguise as Metatheatre
• The Reception of Disguise
• “Now am I most like my self”: Disguise and Identity
• Bibliography
• Index