Abstract: 'Marston, The Dutch Courtesan, and Theatrical Profit' (Munro)
Dublin Core
Title
Abstract: 'Marston, The Dutch Courtesan, and Theatrical Profit' (Munro)
Subject
The Dutch Courtesan, "Marston, John", Dutch Courtesan 2019, Toronto Dutch Courtesan, conference abstract, early modern drama, non-Shakespearean drama, boys' companies, children's companies
Description
Abstract for Lucy Munro's 'Marston, The Dutch Courtesan, and Theatrical Profit'. Includes biography for Munro.
Creator
"Munro, Lucy"
Date
2019-03-23, 1605, 17th century
Contributor
Dutch Courtesan 2019 project team
Relation
The Dutch Courtesan
Format
.pdf (112KB)
Language
en-CA
Type
Text Object
Identifier
DC2019-0009
Coverage
Toronto (CA), London (UK), 2019-03-22-23, 1605, 17th century
Date Available
2019-06-30
Date Created
2019-03
References
The Dutch Courtesan, Queen's Revels
Extent
112KB
Medium
Digital PDF
Bibliographic Citation
Munro, Lucy. 'Marston, The Dutch Courtesan, and Theatrical Profit'. 'Abstract. 'Strangers and Aliens in London and Toronto: Sex, Religion, and Xenophobia in John Marston's The Dutch Courtesan'. DC2019-0009. Dutch Courtesan 2019. Toronto, March 2019. https://dutchcourtesan2019.library.utoronto.ca/admin/items/show/45
Spatial Coverage
Toronto (CA), London (UK)
Temporal Coverage
2019-03-23, 1605, 17th century
Accrual Method
Materials solicited by the Dutch Courtesan project team.
Accrual Periodicity
Infrequently updated after 2019.
Audience
researchers, researchers of early modern drama, university instructors, undergraduate students, graduate students
Audience Education Level
Post-Secondary, Graduate, Post-Graduate
Instructional Method
large-group instruction, small-group instruction, independent research
Text Item Type Metadata
Text
‘Marston, The Dutch Courtesan and Theatrical Profit’ (Panel 1: Commercial Theatre and The Dutch Courtesan – 9:45-11:15AM, 22 March 2019)
Lucy Munro (King’s College London)
This paper will explore the place of The Dutch Courtesan within the traditions and conventions of all-boy performance and the structures of its original playing company, the Children of the Queens Revels. We have known for over a century that John Marston held a share in the Queens Revels company, but the effects of this knowledge for our understanding of his plays have still to be fully explored. Drawing on fresh documentary evidence, I will revisit what we know about the company’s shareholding, management, personnel and properties in order to shed new light on the ways in which The Dutch Courtesan draws on the resources of the company to create both theatrical pleasure and profit.
Lucy Munro is currently finishing a book, Shakespeare in the Theatre: The King’s Men (Bloomsbury Arden Shakespeare, forthcoming), which explores the impact of the playing company on the composition, performance and revival of Shakespeare’s plays between 1603 and 1642. She has
recently held research fellowships at the Huntington Library and Folger Shakespeare Library for work on a new project, ‘Cultural Histories of the Early Modern Playhouse’. As an editor, she is preparing texts of John Marston, William Barksted and Lewis Machin’s The Insatiate Countess and
James Shirley’s The Gentleman of Venice. She has worked with PAR techniques in the editing of two plays, The Queen and Concubine and The Demoiselle for Richard Brome Online, gen. ed. Richard Allen
Cave (Royal Holloway, University of London, Sheffield University, 2009), and in three
collaborative projects: ‘Ages and Stages’, a project on theatre, ageing and cultural memory (Keele University, 2009-12); ‘Before Shakespeare’ (Roehampton University/King’s College London, 2016-18), a project on the beginnings of the London commercial theatre; and ‘Engendering the Stage’ (Roehampton University/King’s College London, 2018, ongoing), a project on gender and performance.
Lucy Munro (King’s College London)
This paper will explore the place of The Dutch Courtesan within the traditions and conventions of all-boy performance and the structures of its original playing company, the Children of the Queens Revels. We have known for over a century that John Marston held a share in the Queens Revels company, but the effects of this knowledge for our understanding of his plays have still to be fully explored. Drawing on fresh documentary evidence, I will revisit what we know about the company’s shareholding, management, personnel and properties in order to shed new light on the ways in which The Dutch Courtesan draws on the resources of the company to create both theatrical pleasure and profit.
Lucy Munro is currently finishing a book, Shakespeare in the Theatre: The King’s Men (Bloomsbury Arden Shakespeare, forthcoming), which explores the impact of the playing company on the composition, performance and revival of Shakespeare’s plays between 1603 and 1642. She has
recently held research fellowships at the Huntington Library and Folger Shakespeare Library for work on a new project, ‘Cultural Histories of the Early Modern Playhouse’. As an editor, she is preparing texts of John Marston, William Barksted and Lewis Machin’s The Insatiate Countess and
James Shirley’s The Gentleman of Venice. She has worked with PAR techniques in the editing of two plays, The Queen and Concubine and The Demoiselle for Richard Brome Online, gen. ed. Richard Allen
Cave (Royal Holloway, University of London, Sheffield University, 2009), and in three
collaborative projects: ‘Ages and Stages’, a project on theatre, ageing and cultural memory (Keele University, 2009-12); ‘Before Shakespeare’ (Roehampton University/King’s College London, 2016-18), a project on the beginnings of the London commercial theatre; and ‘Engendering the Stage’ (Roehampton University/King’s College London, 2018, ongoing), a project on gender and performance.
Files
Citation
"Munro, Lucy", “Abstract: 'Marston, The Dutch Courtesan, and Theatrical Profit' (Munro),” Dutch Courtesan 2019, accessed April 25, 2025, https://dutchcourtesan2019.library.utoronto.ca/items/show/45.
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