Download Costumes and Scripts in the Elizabethan Theatres by Jean MacIntyre PDF
By Jean MacIntyre
This booklet examines the ways that costumes have been received and utilized in conjunction with the repertory of the imperative London performing businesses, frequently throughout the years 1594-1621.
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Additional info for Costumes and Scripts in the Elizabethan Theatres
This convention was basic, being practicable whether costumes were chosen for a particular performance, like the one for which the Office of Revels furnished costumes to the King's Players at Christmas 1551, or whether they comprised the wardrobe of a provincial troupe who carried it about in a few baskets. Some garments in the latest gaudy fashion, some of plain style, and some tattered were possible to all; indeed, one season's fashionable or plain costumes could wear out to next season's rags.
In some ugly shape" (1582 SD) who encourages suicide. Faithful Few "plucketh [Wastefulness] again," the two pray together, and "Despair flyeth and they rise" (1594 SD; 1610 SD). Wapull has used the prodigal pattern to serve theological ends beyond the usual warnings against riot and expense; Wastefulness vanishes once the play has made its point: that prayer remedies all. The Nice Wanton, played by schoolboys before Edward VI about 1550 but, like the similar Disobedient Child, only offered for acting in 156o6 uses properties rather than costume changes to show the decline of its two sinners.
All these costume changes correlate with new names to express a theory of human development that lasted throughout English Renaissance drama. 5 Change from fine clothes to rags distinguishes the many prodigal plays, no matter what variation of "decay" the play develops. In Impatient Poverty the title character first complains "my clothes are but bare" (151). But after he has become Prosperity, falling victim to the enticements of Misrule and the gamester Colhazard, he returns "poorly," "a ragged knave" whose "clothes smell all of the smoke" (879-80).