Self-Centred Art

Acknowledgements

Introduction

1 Reconstructing Jonson's parts

2 Jonson's revisions

3 Jonson among the actors

4 Spectating parts

Case study: 'Cupid' (Cynthia's Revels (Q))

5 Humorous parts: sweet fools

Case study: 'Polish' (The Magnetic Lady)

6 Humorous parts: bitter fools

Case study: 'Adam Overdo' (Bartholomew Fair)

7 Apprentice parts

Case study: 'Frances Fitzdottrel' (The Devil Is an Ass)

8 Plotting parts

Case study: 'Catiline' (Catiline)

9 All parts assembled

Case study: The Alchemist 4.6-4.7

10 Taking the measure of Jonson's plays

11 Conclusion

12 Bibliography

Appendix 1: Actors' Parts in Case Studes

'Cupid' (Cynthia's Revels (Q))

'Polish' (The Magnetic Lady)

'Adam Overdo' (Bartholomew Fair)

'Frances Fitzdottrel' (The Devil Is an Ass)

'Catiline' (Catiline)

The Alchemist 4.6-4.7

Appendix 2: Sizes of Actors' parts in Jonson's plays

Index

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• Peças de Shakespeare
• Edições escolares de Shakespeare
• Estudos literários: peças e dramaturgos
• Artes de representação (performativas)
• Literatura: história e crítica
• Estudos e crítica shakespeareana
• Estudos teatrais

Young Man;Apprentice parts;Jonson's Plays;Humorous parts;Magnetic Lady;Self-centred art;Lady Frampul;Jonson's comic characters;Cynthia's Revels;Bartholomew Fair;EMO;Bitter Fool;Spectating Parts;Sweet Fools;Dame Pliant;Pembroke's Men;Eastward Ho;Jonson's Sense;Early Modern Actor;Adam Overdo;Jonson's Comedies;John Heminges;Jonson's Praise;Party Games;Playhouse Manuscript;Play Back;Returned Cues;Walter Burre;Lady Loadstone