Shakespeare and the Embodied Heroine: Staging Female by Lori Leigh (auth.)

By Lori Leigh (auth.)

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Extra resources for Shakespeare and the Embodied Heroine: Staging Female Characters in the Late Plays and Early Adaptations

Sample text

I have chosen depth over breadth, and therefore my study has been limited to four of Shakespeare’s late plays (two sole-authored and two collaborative) and their respective adaptations, giving a total of eight plays and six authors (Davenant, Dryden, Theobald, Garrick, Shakespeare, and Fletcher) over two eras—in reality three—of theatre history (the Renaissance and the Restoration/eighteenth century). The chapters are organized chronologically with respect to date of adaptation, with the exception of Lewis Theobald’s Double Falsehood, for it is a special case as explained below.

C2. OED). Inspired by gestures such as these, and considering her role in the Morris dance, the role of the Jailer’s Daughter requires immense physicality. That The Rivals eliminates participation in the Morris dance could be Other Worldly Desires 37 attributed to Davenant trying to maintain what would be considered some dignity, or some sense of decorum, for the woman who would ultimately end up Philander’s (Palamon’s) wife. She may have been doing something, however, for the first Countryman says when he bars Celania from their Morris, “we have business here that does concern / The Prince, matters of the state and will not be disturb—Sir / I cannot bear with her affronts” (The Rivals 3; p.

What exactly her “affronts” are remains a mystery. The script only indicates that she is singing, and perhaps this is what the Countryman is alluding to since a few lines later he says, “Woman, I say leave thy singing, or I’le give thee a good Douze’i’th Chop” (meaning a blow in the jaw), but perhaps Davenant did allow some antic gestures for the madwoman. Despite this suggestion that Davenant possibly allowed for some physical (in addition to vocal) expression of madness, he heavily abridged another key scene that demonstrates the range of physicality required in Fletcher and Shakespeare’s Jailer’s Daughter: the fantasy of the ship under sail enacted with the Jailer, the Brother, and the Jailer’s friends in front of the audience.

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