| Project/Area Number |
15520187
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| Research Category |
Grant-in-Aid for Scientific Research (C)
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| Allocation Type | Single-year Grants |
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| Section | 一般 |
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| Research Field |
ヨーロッパ語系文学
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| Research Institution | KYUSHU UNIVERSITY |
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Principal Investigator |
OTA Kazuaki Kyushu University, Faculty of Languages and Cultures, Professor, 大学院・言語文化研究院, 教授 (10123803)
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| Project Period (FY) |
2003 – 2005
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| Project Status |
Completed (Fiscal Year 2005)
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| Budget Amount *help |
¥1,700,000 (Direct Cost: ¥1,700,000)
Fiscal Year 2005: ¥500,000 (Direct Cost: ¥500,000)
Fiscal Year 2004: ¥500,000 (Direct Cost: ¥500,000)
Fiscal Year 2003: ¥700,000 (Direct Cost: ¥700,000)
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| Keywords | Elizabethan playing companies / English Renaissance drama / players and provincial touring / Master of the Revels / dramatic censorship and license / records of early English drama / REED / playhouse license / 演劇公演ライセンス / 地方巡業 / 地方自治体 / 近代初期イングランド / 英国ルネサンス / 支払い記録 / 大衆劇団 / 上演禁止 / 演劇統制 / 初期英国劇団 / 上演認可 / REED演劇関係資料 / 対劇団支払記録 / 英国演劇史 |
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| Research Abstract |
During the three years 2003-2005, I have written four papers and published a collection of information regarding the payments travelling players received from provincial cities and towns.
"The Master of the Revels and Dramatic Censorship in Renaissance England" (2005) argues that the Master of the Revels and the players were in a ‘symbiotic relationship' and that this symbiotic relationship led the Master to conduct censorship in a manner conducive to promoting rather than restraining the players' operations. "Edmund Tilney and Dramatic Control in Renaissance England : the Master of the Revels as a Patron of the Stage" (2005) explores how Edmund Tilney, the first Master of the Revels in Renaissance England to act as dramatic censor, emerged as more a sympathetic licensor of the stage than a repressive censor. "The Licensing of Players and Playhouses as a Profit-making Business : The Master of the Revels and His Sources of Income Reconsidered" (2006) examines the degree to which the play
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ers were an important source of income for the Master by analyzing the records of the payments the Master received from the players and other relevant documents. It argues that the payments from the players and playhouse owners accounted for a major part of the Master's income and that his efforts were directed at promoting theater industry as a sympathetic license of the stage rather than restricting dramatic activity as a repressive censor. "Elizabethan Playing Companies and Provincial Touring" (in press) stresses the importance of the provinces as a theatrical market for Elizabethan professional players, pointing out that most Elizabethan companies were actually ‘provincial" troupes with few or no opportunities for playing in London. "Payments to Travelling Players by Provincial Cities and Towns, 1552-1642" (2005) presents information regarding the payments touring companies received from provincial towns in tabular form. The towns include such major cities in Renaissance England as Bath, Bristol, and Norwich. Less
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