Shakespeare in Company, by Bart Van Es
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Shakespeare in Company, by Bart Van Es
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This book is about two very different kinds of company. On the one hand it concerns Shakespeare's poet-playwright contemporaries, such as Marlowe, Jonson, and Fletcher. On the other, it examines the contribution of his fellow actors, including Burbage, Armin, and Kemp. Traditionally, criticism has treated these two influences in separation, so that Shakespeare is considered either in relation to educated Renaissance culture, or as a man of the theatre. Shakespeare in Company unites these perspectives. Bart van Es argues that Shakespeare's decision, in 1594, to become an investor (or 'sharer') in the newly formed Chamberlain's acting company had a transformative effect on his writing, moving him beyond the conventions of Renaissance dramaturgy. On the basis of the physical distinctiveness of his actors, Shakespeare developed 'relational drama', something no previous dramatist had explored. This book traces the evolution of that innovation, showing how Shakespeare responded to changes in the personnel of his acting fellowship and to competing drama, such as that produced for the children's companies after 1599. Covering over two decades of theatrical history, van Es explores the playwright's career through four distinct phases, ending on the conditions that shaped Shakespeare's late style. Paradoxically, Shakespeare emerges as a playwright unique 'in company'--special, in part, because of the unparalleled working conditions that he enjoyed.
Shakespeare in Company, by Bart Van Es- Amazon Sales Rank: #837757 in Books
- Published on: 2015-05-26
- Released on: 2015-05-26
- Original language: English
- Number of items: 1
- Dimensions: 6.10" h x .90" w x 9.20" l, 1.42 pounds
- Binding: Paperback
- 384 pages
Review "[T]his study will surely be an important and oft-cited contribution to a myriad of topics in Shakespeare studies." --Cithara
"Above all, [Van Es'] concern is, as his title proclaims, not so much with the great dramatist himself as with his acting companions... It is the principal aim of the author to show in detail how the formation of the Chamberlain's Men, with Shakespeare both as a prominent sharer in the company and as its sole playwright, made all the difference between his earlier plays... [W]hat the author has to say may be of great interest to Shakespeare scholars." --The Heythrop Journal"[An] absorbing study." --The New Criterion"Highly recommended." --ChoiceAbout the Author Bart van Es is Lecturer in English at the University of Oxford and a Fellow of St Catherine's College. He has previously written books on Edmund Spenser and has a special interest in the writing of history in the Renaissance. Shakespeare in Company is his first work on drama and was supported by the award of an AHRC Fellowship.
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2 of 2 people found the following review helpful. The most helpful analysis of Shakespeare I have read By Peter F. Rousmaniere The book greatly influences my thinking about Shakespeare’s plays, down to individual characters and scenes. As a general reader with a non-professional, non academic sustained interested in Shakespeare, Es’ book is of the dozen or so books about the Shakespeare the most insightful and really helpful for me to appreciate the plays. Es appears to have everything remotely related to 1590 – 1610 English theater and literary conventions. Working chronologically, Es analyzes Shakespeare’s plays (and to a much less extent his poetry) in light of what else was going on of note, not least of which was Shakespeare’s membership in a company of actors (Lord Chamberlain’s Men), playhouse ownership (the Globe) and for a brief time playhouse lease (Blackfriar’s). His approach is methodical but not tedious. As a general reader, I found myself tempted to skip infrequently.He finishes with a rousing concluding chapter, in which he says that the conventional image of Shakespeare is a giant alone among lesser mortals was a creation of Coleridge and has persisted through today via Harold Bloom and others. Es poses a contrasting prolife of a extremely talented and financially successful writer who was deeply engaged in the to and fro of the theater community – hence co-authorships early and late in his career – and in writing for a stable group of actors over a long period of time. Es delves into several plays in order to explore Shakespeare’s evolving choice of topics and style. These plays include Richard III, Richard II, Hamlet, the Tempest, and Two Noble Kinsmen. But if the reader has a fair acquaintance with 12- 15 of the plays, the discussion in the book will spark constantly associations in the reader’s mind.A tantalizing idea which Es addresses in his usual economic style is the relationships between Richard Burbage, the main tragic protagonist actor, the competitive position of the Globe in the 1600s, and the development of Shakespearean characters (notably Hamlet) who possessed a kind of flawed self-reflectiveness, a deepening self-awareness compared to theatrical convention and contradicted by the character’s actual behavior. (after page 238).The reader will finish E’s book with a far richer understanding of Shakespeare.
4 of 6 people found the following review helpful. Perfect book in perfect condition By Jack M. Kamen A most enjoyable read.Interesting views on composition of plays and who other contributors may have been.Well organized material.
2 of 6 people found the following review helpful. A thorough and thoughtful textbook By John Hudson Dr Van Es argues that stylistic changes in the Shakespearean plays post the formation of the Lord Chamberlain's Men in 1594 derived from Shakespeare's structural and financial position as a 'sharer' or 'house-keeper' in the company. I would certainly agree that there were changes in the plays once the playwright was able to write for a consistent group of players. That however does not depend on the playwright's position as a sharer, which in itself rather had a financial impact. While the result of being a sharer was that Shakespeare was in a unique financial position in 1594, and unlike other playwrights was not dependent on selling play scripts for a living, having financially comfortable circumstances does not translate into his capacity as a writer---since when the most ambitious projects of all were written, namely the two Tetralogies, he was not well off as far as we know.
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