Middleton and Rowley: Forms of Collaboration in the Jacobean Playhouse

Middleton and Rowley: Forms of Collaboration in the Jacobean Playhouse

by David Nicol



Product Details

ISBN-13: 9781442643703
Publisher: University of Toronto Press, Scholarly Publishing Division
Publication date: 10/30/2012
Pages: 232
Product dimensions: 6.10(w) x 9.00(h) x 0.90(d)

About the Author

David Nicol is an assistant professor in the Department of Theatre at Dalhousie University.

Table of Contents


Note on the Citation of Early Modern Dramatic Texts

1. Middleton and Rowley: Writing About Collaborative Drama

- Critical Approaches to Collaboration: The Case of The Changeling

- Middleton, Rowley and Authorship

- Authorial Divisions and the Process of Collaboration

- Analyzing Collaborative Drama

2. Collaborators and Individual Style: Choice and Religion in The Changeling

- Choosing to Sin in All's Lost by Lust

- The Mind of the Sinner

- Calvinism and Middleton's Tragedies

- Collaboration and Choice in The Changeling

- Divided Authors

3. The Actor as Collaborator: Wit at Several Weapons and the Incorporation of Persona

- Rowley’s Persona Under Different Playwrights

- The Rowleyan Clown in All’s Lost by Lust

- The Structure of Rowley’s Clown Plots

- Middleton, Rowley, and the Clown: Wit at Several Weapons

- The Clown’s Perspective

4. Collaborators and Playing Companies: Class and Genre in A Fair Quarrel

- Middleton and the Factious Comedy

- Rowley and Romance

- The Double Ending of A Fair Quarrel

­- Duelling Genres

5. A Presence in the Crowd: Multiple Authorship and the Individual Voice in The Spanish Gypsy, The World Tosesed at Teninis and The Old Law

- An Actor’s Presence in The Spanish Gypsy and The Changeling

- The Patron’s Presence in The World Tossed at Tennis and The Old Law

- Epilogue: The Presence of the Absent Author

Appendix: A Middleton-Rowley Chronology

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