'A play is not so ydle a thing': the dramatic output and theatre-craft of Nathan Field

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http://eprints.org/relation/isVersionOf http://etheses.bham.ac.uk/id/document/17903 http://eprints.org/relation/isVolatileVersionOf http://etheses.bham.ac.uk/id/document/17903 http://eprints.org/relation/isIndexCodesVersionOf http://etheses.bham.ac.uk/id/document/17903 archive 4031 disk0/00/00/31/50 2012-02-01 18:55:07 2019-01-23 09:55:39 2012-02-01 18:55:07 thesis show 0 Williams Margaret Ellen Smallwood R.L. (Robert Leo) ftp://ubira.bham.ac.uk/eTheses/3150_Williams/ University of Birmingham 'A play is not so ydle a thing': the dramatic output and theatre-craft of Nathan Field unpub PN2000 PR 40fac_art Nathan Field, an actor contemporary with Burbage, is virtually unknown as a playwright. His work reflects the fact that he was an all-round man of the theatre, so Part One is largely biographical, tracing Field's involvement as actor, manager and writer with the Children of the Revels, the Lady Elizabeth's Men and the King's Men. In Part Two, which lays the foundations for Part Three, I investigate Field's authorship, or part-authorship, of six collaborative plays: The Fatal Dowry, with Massinger, The Honest Man's Fortune, Four Plays in One, The Queen of Corinth and the Knight of Malta from the 'Beaumont and Fletcher' folio of 1647, and the anonymous manuscript play The Faithful Friends. Part Three deals with Field's dramatic output as pieces for the theatre, examining them in terms of theatre resources, their relationships with their spectators and their verbal and non-verbal communication. The conclusion supplies a perspective from which to view and to evaluate Field's work, by considering it in relation to popular theatre tradition, and by reviewing its limited performance history. 1992 1992-05 graduation eng blscanned This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. public 488 University of Birmingham School of English, Drama and American & Canadian Studies, The Shakespeare Institute d_ph na 1992 graduation