Philip Massinger et le théâtre historique : trouver la bonne distance
Under the first Stuart kings, English theatre echoed contemporary events. Following the example of George Chapman, an author like Philip Massinger proved particularly bold in this respect. As soon as the death of Jan van Olden Barnevelt was known, the playwright collaborated with John Fletcher to co...
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| Main Author: | |
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| Format: | Article |
| Language: | English |
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Centre de Recherche "Texte et Critique de Texte"
2022-01-01
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| Series: | Sillages Critiques |
| Subjects: | |
| Online Access: | https://journals.openedition.org/sillagescritiques/11900 |
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| Summary: | Under the first Stuart kings, English theatre echoed contemporary events. Following the example of George Chapman, an author like Philip Massinger proved particularly bold in this respect. As soon as the death of Jan van Olden Barnevelt was known, the playwright collaborated with John Fletcher to compose a topical tragedy the subject and dramatis personae of which tested the limits of what could be condoned by the censor. Although he did not ban the play, the latter heavily intervened on the manuscript. Twelve years later, censorship was at work again in Believe as You List, a play originally devised to evoke the fate of a pretender to the throne of Portugal whom Spain managed to pursue and kill. Massinger was forced to alter it and transposed the play into the Roman Republic. As first readers of these plays, the Masters of the Revels of James I and Charles I were anxious that the political intervention these works amounted to in the public sphere should not disturb England’s foreign policy, especially with Spain. If this historical drama may be interpreted as political drama, it is because it stages the mechanics of power, where sole virtue is not enough to overcome evil, rather than because it can be read analogically. |
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| ISSN: | 1272-3819 1969-6302 |