Friar Bacon and Friar Bungay: Scene 9
Para1Two new characters crash onto the stage at his point locked in competition for the
hand of the Fair Maid. Although tied to the plot of the first half of the play through
the character of Margaret, it felt like the beginning of a new story in performance.
For the SQM company, it was hard to place these country squires in the social hierarchy
as they seem wealthy but their dialogue reveals they are not court sophisticates.
I was unable to find a way to distinguish them from Lacy, Warren and Ermsby, either
through costume or manner. I feel there was a joke around social class lost here focus
the country style of wooing as Serlsby uses descriptions of his flock as a means to
seduce Margaret (Sc9 Sp11). Julian DeZotti (Margaret) displays the richness of his characterization in this scene moving from
polite and modest tactics of delay, through to heartbreak on reading the letter, to
steadfast defense of the strength of her own love in contrast to Lacy’s, and commitment
to a future life in the local convent. The strength and dignity he brings to Margaret
is a signal that all-male companies did not necessarily result in conservative views of women although ultimately the SQM production did not challenge such views as rigorously
as a regular modern production might do today.
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See Production Credits.
Prosopography
Andrew Griffin
Andrew Griffin is an associate professor in the department of English and an affiliate
professor in the department of Theater and Dance at the University of California,
Santa Barbara. He is general editor (text) of Queen’s Men Editions. He studies early
modern drama and early modern historiography while serving as the lead editor at the
EMC Imprint. He has co-edited with Helen Ostovich and Holger Schott Syme Locating the Queen’s Men (2009) and has co-edited The Making of a Broadside Ballad (2016) with Patricia Fumerton and Carl Stahmer. His monograph, Untimely Deaths in Renaissance Drama: Biography, History, Catastrophe, was published with the University of Toronto Press in 2019. He is editor of the
anonymous The Chronicle History of King Leir (Queen’s Men Editions, 2011). He can be contacted at griffin@english.ucsb.edu.
Christopher Matusiak
Christopher Matusiak (Friar Bacon and Friar Bungay) is an Associate Professor of English at Ithaca College in New York where he teaches
courses on Shakespeare and early modern drama. His research on seventeenth-century
theatre management at the Drury Lane Cockpit has appeared in Early Theatre and Medieval and Renaissance Drama in England, and in Shakespeare Quarterly on the use of John Aubrey’s manuscripts in studies of Shakespeare’s life. He is currently
writing a book (with Eva Griffith) about Christopher Beeston and the Cockpit playhouse,
and researching another on the persistence of illegal stage-playing during the English
Civil Wars, Shakespearean Actors and their Playhouses in Civil War London. He also prepared REED London: The Cockpit-Phoenix: an edited collection of seventeenth-century manuscripts and printed documents illustrating
the history of the Cockpit-Phoenix playhouse in Drury Lane (for The Records of Early English Drama). He can be contacted at cmatusiak@ithaca.edu.
Helen Ostovich
Helen Ostovich, professor emerita of English at McMaster University, is the founder
and general editor of Queen’s Men Editions. She is a general editor of The Revels Plays (Manchester University Press); Series
Editor of Studies in Performance and Early Modern Drama (Ashgate, now Routledge),
and series co-editor of Late Tudor and Stuart Drama (MIP); play-editor of several
works by Ben Jonson, in Four Comedies: Ben Jonson (1997); Every Man Out of his Humour (Revels 2001); and The Magnetic Lady (Cambridge 2012). She has also edited the Norton Shakespeare 3 The Merry Wives of Windsor Q1602 and F1623 (2015); The Late Lancashire Witches and A Jovial Crew for Richard Brome Online, revised for a 4-volume set from OUP 2021; The Ball, for the Oxford Complete Works of James Shirley (2021); The Merry Wives of Windsor for Internet Shakespeare Editions, and The Dutch Courtesan (with Erin Julian) for the Complete Works of John Marston, OUP 2022. She has published
many articles and book chapters on Jonson, Shakespeare, and others, and several book
collections, most recently Magical Transformations of the Early Modern English Stage with Lisa Hopkins (2014), and the equivalent to book website, Performance as Research in Early English Theatre Studies: The Three Ladies of London in Context containing scripts, glossary, almost fifty conference papers edited and updated to
essays; video; link to Queenʼs Mens Ediitons and YouTube: http://threeladiesoflondon.mcmaster.ca/contexts/index.htm, 2015. Recently, she was guest editor of Strangers and Aliens in London ca 1605,
Special Issue on Marston, Early Theatre 23.1 (June 2020). She can be contacted at ostovich@mcmaster.ca.
Holger Schott Syme
Holger Schott Syme is an associate professor of English and Drama at the University
of Toronto Mississauga. He is author of Theatre and Testimony in Shakespeare’s England: A Culture of Mediation (CUP, 2011) and co-editor with Helen Ostovich and Andrew Griffin of Locating the Queen’s Men, 1583-1603 (Ashgate, 2009). His recent work includes
(Mis)representing Justice on the Early Modern Stage,Studies in Philology (2011);
The Meaning of Success: Stories of 1594 and its Aftermath,Shakespeare Quarterly (2010); and
Unediting the Margin: Jonson, Marston, and the Theatrical Page,English Literary Renaissance38.1 (2008): 142-71. As textual editor, he has produced Edward III (Shakespeare and others) and The Book of Sir Thomas More, by Munday, Chettle, Dekker, Heywood, Shakespeare and others, for The Norton Shakespeare 3, ed. Stephen Greenblatt et al. (W.W. Norton, 2015). He can be contacted at holger.syme@utoronto.ca.
Janelle Jenstad
Janelle Jenstad is a Professor of English at the University of
Victoria, Director of The Map
of Early Modern London, and Director of Linked Early Modern Drama
Online. With Jennifer Roberts-Smith and Mark Kaethler, she
co-edited Shakespeare’s Language in Digital Media: Old
Words, New Tools (Routledge). She has edited John Stow’s
A Survey of London (1598 text) for MoEML
and is currently editing The Merchant of Venice
(with Stephen Wittek) and Heywood’s 2 If You Know Not
Me You Know Nobody for DRE. Her articles have appeared in
Digital Humanities Quarterly, Elizabethan Theatre, Early Modern
Literary Studies, Shakespeare
Bulletin, Renaissance and
Reformation, and The Journal of Medieval
and Early Modern Studies. She contributed chapters to Approaches to Teaching Othello (MLA); Teaching Early Modern Literature from the Archives
(MLA); Institutional Culture in Early Modern
England (Brill); Shakespeare, Language, and
the Stage (Arden); Performing Maternity in
Early Modern England (Ashgate); New
Directions in the Geohumanities (Routledge); Early Modern Studies and the Digital Turn (Iter);
Placing Names: Enriching and Integrating
Gazetteers (Indiana); Making Things and
Drawing Boundaries (Minnesota); Rethinking
Shakespeare Source Study: Audiences, Authors, and Digital
Technologies (Routledge); and Civic
Performance: Pageantry and Entertainments in Early Modern
London (Routledge). For more details, see janellejenstad.com.
Joey Takeda
Joey Takeda is LEMDO’s Consulting Programmer and Designer, a role he
assumed in 2020 after three years as the Lead Developer on
LEMDO.
Julian DeZotti
Julian DeZotti was an actor with Shakespeare and the Queenʼs Men Project. He played
Margaretin Friar Bacon and Friar Bungay (2006) and
Lawrence Costermonger,
Clerk,
First French Soldier,and
Katherine of Francein Famous Victories (2006).
Kate LeBere
Project Manager, 2020–2021. Assistant Project Manager, 2019–2020. Textual Remediator
and Encoder, 2019–2021. Kate LeBere completed her BA (Hons.) in History and English
at the University of Victoria in 2020. During her degree she published papers in The Corvette (2018), The Albatross (2019), and PLVS VLTRA (2020) and presented at the English Undergraduate Conference (2019), Qualicum History
Conference (2020), and the Digital Humanities Summer Institute’s Project Management
in the Humanities Conference (2021). While her primary research focus was sixteenth
and seventeenth century England, she completed her honours thesis on Soviet ballet
during the Russian Cultural Revolution. She is currently a student at the University
of British Columbia’s iSchool, working on her masters in library and information science.
Martin Holmes
Martin Holmes has worked as a developer in the
UVicʼs Humanities Computing and Media Centre for
over two decades, and has been involved with dozens
of Digital Humanities projects. He has served on
the TEI Technical Council and as Managing Editor of
the Journal of the TEI. He took over from Joey Takeda as
lead developer on LEMDO in 2020. He is a collaborator on
the SSHRC Partnership Grant led by Janelle Jenstad.
Navarra Houldin
Project manager 2022-present. Textual remediator 2021-present. Navarra Houldin (they/them)
completed their BA in History and Spanish at the University of Victoria in 2022. During
their degree, they worked as a teaching assistant with the University of Victoriaʼs
Department of Hispanic and Italian Studies. Their primary research was on gender and
sexuality in early modern Europe and Latin America.
Peter Cockett
Peter Cockett is an associate professor in the Theatre and Film Studies at McMaster
University. He is the general editor (performance), and technical co-ordinating editor
of Queen’s Men Editions. He was the stage director for the Shakespeare and the Queen’s Men project (SQM),
directing King Leir, The Famous Victories of Henry V, and Friar Bacon and Friar Bungay (2006) and he is the performance editor for our editions of those plays. The process
behind those productions is documented in depth on his website Performing the Queen’s Men. Also featured on this site are his PAR productions of Clyomon and Clamydes (2009) and Three Ladies of London (2014). For the PLS, the University of Toronto’s Medieval and Renaissance Players,
he has directed the Digby Mary Magdalene (2003) and the double bill of George Peele’s The Old Wives Tale and the Chester Antichrist (2004). He also directed An Experiment in Elizabethan Comedy (2005) for the SQM project and Inside Out: The Persistence of Allegory (2008) in collaboration with Alan Dessen. Peter is a professional actor and director
with numerous stage and screen credits. He can be contacted at cockett@mcmaster.ca.
Robert Greene
Tracey El Hajj
Junior Programmer 2019–2020. Research Associate 2020–2021. Tracey received her PhD
from the Department of English at the University of Victoria in the field of Science
and Technology Studies. Her research focuses on the algorhythmics of networked communications. She was a 2019–2020 President’s Fellow in Research-Enriched
Teaching at UVic, where she taught an advanced course on
Artificial Intelligence and Everyday Life.Tracey was also a member of the Map of Early Modern London team, between 2018 and 2021. Between 2020 and 2021, she was a fellow in residence at the Praxis Studio for Comparative Media Studies, where she investigated the relationships between artificial intelligence, creativity, health, and justice. As of July 2021, Tracey has moved into the alt-ac world for a term position, while also teaching in the English Department at the University of Victoria.
Orgography
LEMDO Team (LEMD1)
The LEMDO Team is based at the University of Victoria and normally comprises the project
director, the lead developer, project manager, junior developers(s), remediators,
encoders, and remediating editors.
QME Editorial Board (QMEB1)
The QME Editorial Board consists of Helen Ostovich, General Editor; Peter Cockett, General Editor (Performance); and Andrew Griffin, General Editor (Text), with the support of an Advisory Board.
Queenʼs Men Editions (QME1)
The Queen’s Men Editions anthology is led by Helen Ostovich, General Editor; Peter
Cockett, General Editor (Performance); and Andrew Griffin, General Editor (Text).
Shakespeare and the Queenʼs Men Project (SQMP1)
https://thequeensmen.ca/University of Victoria (UVIC1)
https://www.uvic.ca/Metadata
Authority title | Friar Bacon and Friar Bungay: Scene 9 |
Type of text | Critical |
Short title | FBFB: Scene 9 |
Publisher | University of Victoria on the Linked Early Modern Drama Online Platform |
Series | Queen’s Men Editions |
Source |
Page written by Peter Cockett. First published in the QME 1.0 anthology on the ISE platform. Converted to TEI-XML
and remediated by the LEMDO Team for republication in the QME 2.0 anthology on the LEMDO platform.
|
Editorial declaration | n/a |
Edition | Released with Queenʼs Men Editions 2.0 |
Sponsor(s) |
Queenʼs Men EditionsThe Queen’s Men Editions anthology is led by Helen Ostovich, General Editor; Peter
Cockett, General Editor (Performance); and Andrew Griffin, General Editor (Text).
|
Encoding description | Encoded in TEI P5 according to the LEMDO Customization and Encoding Guidelines |
Document status | published, peer-reviewed |
Licence/availability | Intellectual copyright in this edition is held by the editor, Peter Cockett. The critical paratexts, including this Scene 9 page, are licensed under a CC BY-NC_ND 4.0 license, which means that they are freely downloadable without permission under the following conditions: (1) credit must be given to the editor, QME, and LEMDO in any subsequent use of the files and/or data; (2) the content cannot be adapted or repurposed (except for quotations for the purposes of academic review and citation); and (3) commercial uses are not permitted without the knowledge and consent of QME, the editor, and LEMDO. This license allows for pedagogical use of the critical paratexts in the classroom. Production photographs and videos on this site may not be downloaded. They appear freely on this site with the permission of the actors and the ACTRA union. They may be used within the context of university courses, within the classroom, and for reference within research contexts, including conferences, when credit is given to the producing company and to the actors. Commercial use of videos and photographs is forbidden. |