Staging Spectatorship in the Plays of Philip Massinger
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A01=Joanne Rochester
actor
Albion's Triumph
Albion’s Triumph
audience
audience perception
Author_Joanne Rochester
Blackfriars Audience
Burning Pestle
caroline
Caroline Defenses
Caroline Masques
Caroline Plays
Category=ATD
Category=DDA
Category=DSB
city
City Madam
Court Masque
Domitian's Rome
Domitian’s Rome
dramatic insets
early modern spectatorship research
early modern theatre
Early Modern Visual Culture
eq_art-fashion-photography
eq_bestseller
eq_biography-true-stories
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
eq_poetry
False Servant
Imperial Theatre
inset
Inset Pieces
Inset Spectacle
Jonsonian Court Masque
King's Men history
madam
Main Masque
Masque Elements
Massinger's Plays
Massinger’s Plays
metatheatre analysis
onstage
Onstage Audience
Onstage Spectators
Philip Massinger
pieces
Play Back
Renaissance Drama
roman
Roman Actor
theatre
Tiring Room
visual culture studies
Product details
- ISBN 9780754630807
- Weight: 500g
- Dimensions: 156 x 234mm
- Publication Date: 28 Apr 2010
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
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The playwrights composing for the London stage between 1580 and 1642 repeatedly staged plays-within and other metatheatrical inserts. Such works present fictionalized spectators as well as performers, providing images of the audience-stage interaction within the theatre. They are as much enactments of the interpretive work of a spectator as of acting, and as such they are a potential source of information about early modern conceptions of audiences, spectatorship and perception. This study examines on-stage spectatorship in three plays by Philip Massinger, head playwright for the King's Men from 1625 to 1640. Each play presents a different form of metatheatrical inset, from the plays-within of The Roman Actor (1626), to the masques-within of The City Madam (1632) to the titular miniature portrait of The Picture (1629), moving thematically from spectator interpretations of dramatic performance, the visual spectacle of the masque to staged 'readings' of static visual art. All three forms present a dramatization of the process of examination, and allow an analysis of Massinger's assumptions about interpretation, perception and spectator response.
Joanne Rochester, Assistant Professor of English, University of Saskatchewan, Canada
