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Cognition In The Globe (and Masques)
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Mod
Its worth reading the intro if it is allowable at amazon here...
https://www.amazon.com/Cognition-Glob...
Candy,These plots I think are all part of the Henslowe survival, notes ("Henslowe's diary") of his theatre management, not easy to read, but an important historical source. Henslowe was played by Geoffrey Rush in "S in Love" you will recall. Unfortunately the diary does not cover a period when he was actually working with S. The "seven deadly sins" plot is on this site,
https://henslowe-alleyn.org.uk/
Here for example is one sheet of the "seven deadly sins"
https://henslowe-alleyn.org.uk/catalo...
I've put together the whole thing, see below, unpicking various pdf files. (It looks as if I'm making errors, but it does follow the original if you check.) It seems to me they are notes for a stage manager, who has to get costumes and props organised and give the cues to the actors to go onstage. What use Ms Tribble can make of this material I do not really see. But more on that in a later post . . .
The Booke and Platt of the Second part of The 7 deadly Sinns
A tent being plast one the stage for Henry
the sixthe in it A sleepe to him The Leutenant
A purceuaunt R Cowly Io Duke and 1 wardere
1J Holland -- to them Pride * Gluttony
wrath and Couetousnes at one dore * at an other
dore Enuie * Sloth and Lechery * The Three put
back the foure * and so Exeunt
______________________________________
Henry Awaking Enter A Keeper I Sincler to him
a seruaunt T Belt * to him Lidgate and the
Keeper * Exit then enter againe * Then Enuy
passeth ouer the stag Lidgate speakes
_______________________________________
A Senitt * Dumb show.
Enter King Gorboduk wth 2 Counsailers * R Burbadg
mr Brian * Th Goodale * The Queene wth ferrex and
Porrex and som attendaunts follow * saunder wSly
Harry I Duke * Kitt * Ro Pallant * I Holland
After Gordbeduk hath Consulted wth his Lords he
brings his 2 sonns to to seuerall seates They
enaing on on other ferrex offers to take Porex his
Corowne * he draws his weapon The King Queen and
Lords step between them They Thrust Them away
and menasing ech other exit The Queene and
Lords Depart Heuilie * Lidgate speaks
________________________________________
Enter Nicanor wth other Captaines R Pall *
Jsincler * Kitt * JHolland R Cowly * to them
Arbactus * mr Pope * to him will foole * I Duke
to him Rodopeie * Ned * to her Sardanupalus
Like A woman wth Aspatia Rodope Pompeia
will foole to them Arbactus and 32 musitsons
mr Pope J Sincler * Vincent R Cowly to them
Nicanor and others R P * Kitt
_________________________________
Enter Sardanapa * wth the Ladies to them A
Messenger * Th Goodale * to him will foole
Runing A Larum
____________________________________
Enter Arbactus pursuing Sardanapalus
and The Ladies fly * After Enter Sarda
wth as many Jewels robes and Gold as he can
cary *
____________________________________
|A Larum|
Enter Arbactus Nicanor and The other Captains
in triumph * mr Pope * R Pa * Kitt J Holl R Cow * J Sinc
_____________________________________________
Henry speaks and Lidgate Lechery passeth
ouer * the stag
____________________________
Enter ferrex Crownd wth Drum and Coulers and soldiers
one way * Harry * Kitt * R Cowly Iohn duke * to them
At another dore * Porrex drum and Collors and soldie
W sly * R Pallant * Iohn Sincler * I Holland *
____________________________________________
Enter Queene * wth 2 Counsailors * mr Brian
Tho Goodale * to them ferrex and Porrex seuerall waies
wth Drums and Powers * Gorboduk entreing in
The midst between * Henry speaks
___________________________________________
A Larum wth Excurtions After
Lidgate speakes
__________________________________________
Enter ferrex and Porrex seuerally Goboduke
still following them * Lucius and Damasus mr Bry
T Good *
_________________________________________
Enter ferrex at one dore * Porrex at an other The
fight * ferrex is slayn : to them Videna The Queene
to hir Damasus * to him Lucius *
_________________________________________
Enter Porrex sad wth Dordan his man * R P * w sly
to them the Queene and A Ladie Nick Saunder
And Lords R Cowly mr Brian * to them Lucius Running
_______________________________________________
Henry and Lidgat speaks Sloth Passeth ouer
________________________________________________
Enter Giraldus Phronesius Aspatia Pompeia Rodope
R Cowly Th Goodale * R Go * Ned * Nick
________________________________________________
Enter Sardinapalus Arbactus Nicanor and
Captaines marching * mr Phillipps mr Pope R Pa
Kit J Sincler * J Holland *
_______________________________________
Enter A Captaine wth Aspatiaand the Ladies Kitt
________________________________________
Enter Tereus Philomele * Julio and othe
R Burbadg * Ro R Pall * J Sinkler
__________________________________
Enter Progne Itis and Lords saunder will
J Duke w sly Hary *
__________________________________
Enter Philomele and Tereus to them Julio
__________________________________
Enter Progne Panthea Itis and Lords * saunder
T Belt will w sly Hary Th Goodale to them
Tereus wth Lords * R Burbadg * J Duk R Cowly
______________________________________
| A Dumb show * Lidgate speakes |
___________________________
Enter Progne wth the Sampler to her Tereus
from Hunting * wth his Lords to them Philomele
wth Itis hed in a dish * Mercury Comes and all
vanish * to him 3 Lords Th Goodale Hary W sly *
____________________________________________
Henry speaks to him Leiutenant Purseuaunt
and warders R Cowly J Duke * J Holland Ioh
sincler * to them Warwick * mr Brian
_____________________________________
Lidgate speaks to the
Audiens and so
Exitts
______________________________________
Finis
A surprisingly large proportion of the book is available in the amazon "preview".The style is modern-academic, thick with the jargon that puts off the general reader, and I admire Candy's reading diligence! I really think if it was written from the heart to everybody, instead of from the podium to an academic audience, it would do so much better, as the underlying ideas are very interesting: Extended Mind Theory and so on. The problem surely is that there is so little evidence about the Elizabethan theatre. What can one deduce from the transcript in the previous email?
My daughter Rachel acts, and I asked her about the play learning problem. She did not find what the Elizabethan actor needed to memorize so beyond human ability. Different actors have different skills here, but to her, learning parts has always come easily, and she says one week is enough to memorize all the text of one major part. She also said that learning as a group made it easier (the Extended Mind idea). Learning monologue plays was therefore the worst: Becket's Happy Days or Not I for instance. There was a "repertory drama" element to the Elizabethan companies: a stock of owned plays they could regularly perform. Rachel also said that the short rehearsal time in S's day made the time for learning parts longer, which helped. (The rehearsal time must have been simpler and shorter because actors did not have the text of the whole play, and so could not take part in group studies. Often the actors did not even know the whole plot. This comes out in the rehearsal scenes in "S in Love".) Finally the audiences didn't know the plays either, so a bit of ad-libbing, impossible in a modern S performance, could be done.
Mod
Sorry to be slow responding...I have been writing and researching. The book Supersizing The Mind by Clark...plays into this area.
I've really got to watch S In Love again...it's been years.
So good to see" you here!!!
Mod
Mod
Mod
https://www.amazon.com/Cognition-Glob...
or...
https://www.goodreads.com/book/show/1...
Mod
This following link is super interesting. It's about design for masques.
https://www.jstor.org/stable/751370?r...
Its called "The Stuart Court Masques and The Theatre Of The Greeks" by John Peacock if this link doesn't work...
It may have a paywall...its Jstor site...and I'm allowed three articles at a time for free. So if you log in you will be able to read this article.
My interest in masques...is also related to food during festivities.
I had come across some info that food was often served as a treat...or a prank. I'm interested in food that has a surface and then often a gooey centre which is a surprise.
So the candy "Smarties" or "M&Ms" inner layer hard shell contraasted with soft delicious center is a left over of this idea found today.
I cannt seem to find literature on this idea of a prank during masque feasts yet. I'm hoping someone might find this post and have some ideas.
I feel like the idea of "corpuscle" is related....so this outer shell mimicking a flowing soft inner like human body. Also as a metaphor for knowledge. Information hidden in something else. Which is how I came across the above essay on design by Indio Jones.
Mod
Ive got to pick up from the library
The Human Stage by John Orell
A Study of Love's Labour's Lost by Frances Yates
Theatre of the World by Frances Yates
Mnuemonic Methods by Robert Fludd
And just arrived today
The Quest for Shakespeare's Globe by John Orell
Mod
Table Talk by Michel Jeannette
The Splendor of the Court by Roy Strong
She spends some time discussing the "plots" of Elizabethan plays that have survived. These "plots" or "plants" are the stage directions, or back notes of productions during Shakespeare's time. Although the surviving transcripts are not Shakespeare's they are from his peers and represent the kind of details producers, directors and actors would apply and utilize at the time period.
I wonder if anyone here has read them in person. I understand there are only a few in existence at the British Museum. There are a couple at Dulwich College surviving of "The Seven Deadly Sins."
I am using Tribble's study for a paper I'm presenting at a conference in Feb (online this year obviously)
I've got some reference material from the Elizabethan era, on Spencer and Shakespeare. My focus is on the practical workspace, text of memory. How do poems help us remember...how does literature help us remember. And how does cognition in an environment help us learn and remember.
The idea is that in some aspects of cognitive science the mind and brain utilize entire environments...rather than the out-dated notion of our thoughts existing only in our heads. Distributed Cognition argues that artifacts, objects, across media and each embodied agent in such environments.
So Tribbles book is looking at how actors meorized and performed six plays a week for months at a time...how did they remember so many parts, lines directions....and she argues through prompts of doors on stage, gentures of an actor themselves as well as their fellow actors and the spaces the performances created on a stage, or on a street.
So...I guess I wondered if anyone has seen these plots at the British Museum? I hope I can read them in person one day.
Candy