ある未亡人の変容 ― 王政復古期のジョン・ウェブスター改作劇と***ティックな描写 ―

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概要

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• This essay deals with the transformation in the representations of the heroines' sexuality in John Webster's The Duchess of Malfi（1614）and its adaptation, James Shirley's The Cardinal（1641）as they were performed on the Restoration stage. In The Cardinal, which was licensed in 1641 and became part of the repertoire of the King's company after the Restoration, Duchess Rosaura is depicted as an asexual widow in sharp contrast to a sexual widow, the Duchess of Malfi. The Cardinal was written to be performed by all-male casts before the interregnal closure of the theatres. However, The Cardinal could be considered to be a herald of a trend which was to be conspicuous eighteen years later, in which the sexuality of female characters tended to disappear from the scripts of the adaptations of The Duchess of Malfi. By discussing the female representation of Shirley's Duchess in the light of the appearance of the first English female actors, this essay argues that the sexuality of female characters was represented by the bodily presence of the female actor on the Restoration stage, just as it was fully verbalized in the script written by playwrights on the earlier stage.

著者

• 撫原 華子

  東京女子大学

関連論文

• ある未亡人の変容 ― 王政復古期のジョン・ウェブスター改作劇と***ティックな描写 ―
• The Feminization of the Culture in Late Seventeenth-Century England : With a Special Reference to Joseph Harris's The City Bride
• The Influence of the Presence of the Female Audience on the Adaptations of John Webster's Plays
• 「奇跡」と観客--The Virgin Martyrの場合
• 不在のヒロイン The Duchess of MalfiとMartyrdom

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