英文摘要 |
The Elizabethan common players had a humble beginning. The 1572 Act for the punishment of vagabonds classed masterless and unlicensed 'fencers, bear-wards, common players in interludes and minstrels' etc. as rogues, vagabonds, and sturdy beggars. Nevertheless, by the 1590s when Shakespeare started writing his major plays for the Chamberlain's Men, acting, at least what was done by the two officially licensed adult companies in London, was a bona fide occupation. Although the word 'profession' has been freely used to describe the job of Elizabethan common players, the appropriateness of this usage is not certain since the word can only be applied in its broadest sense. We therefore need to begin by examining the meanings of 'profession' in the context of the early modern period. This examination is then followed by a look at the history of the emergence of commercial theatre in the early sixteenth century to see how the common players' professionalism evolved. Finally, concepts of profession will be used to discuss Shakespeare's treatments of players and play-acting in his dramatic works. Shakespeare's representation of players' dependence on aristocratic patronage lags behind the reality of the commercial success of licensed companies. Yet, in suggesting players' unique license to change identities and create theatrical illusions, pointing out the skills required to create such illusions, and not to mention composing psychologically complex characters for lead actors of his company, Shakespeare affirms that acting was on its way to become a profession. Professionalization involves division of labour and specialism in a society. The rise of the common players should be seen as part of the dynamics of occupational specialization in early modern England as a result of economic, social, and cultural changes of the times. |