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            <title type="main">Friar Bacon and Friar Bungay: Scene 3</title>
            <title type="short">FBFB: Scene 3</title>
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               <persName ref="pers:COCK1">Peter Cockett</persName>
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            <funder>Social Sciences and Humanities Research Council of Canada</funder>
            <funder>McMaster University</funder>
            <funder>Poculi Ludique Societas</funder>
            <funder>University of Waterloo</funder>
            <funder>University of Toronto Centre for Drama, Theatre &amp; Performance Studies</funder>
            <funder>University of Victoria</funder>
            <funder>Friends of the ISE</funder>
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            <p>Released with Queen’s Men Editions 2.0</p>
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            <publisher>University of Victoria on the Linked Early Modern Drama Online Platform</publisher>
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               <p>Intellectual copyright in this edition is held by the editor, <persName ref="pers:COCK1">Peter Cockett</persName>. The critical paratexts, including this <title level="a">Scene 3</title> page, are licensed under a <ref target="https://creativecommons.org/licenses/by-nc-nd/4.0/">CC BY-NC_ND 4.0 license</ref>, 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.</p>
               <p>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.</p>
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            <p xml:id="emdFBFB_video_scene03_p1">The third scene returns us to the <quote>frolic</quote> world of the English countryside (to borrow Greene’s favorite term) and introduces us to the brightest flower the national garden: Margaret, the Fair Maid of Fressingfield. Working with the dance instructor <persName ref="pers:WINE1">Emily Winerock</persName> the company created a dance to open the scene intended to generate some of the fun and excitement of a country fair. Margaret has already been praised for her beauty in the opening scene and here we discover that her command of language is also remarkable as she scatters classical allusions through her speech. Margaret was the last of the female roles developed by <persName ref="pers:DEZO1">Julian DeZotti</persName> and <ref target="doc:qme_SQMPerfInt#qme_SQMPerfInt_p15">worked to redefine the other two</ref>. <persName ref="pers:DEZO1">DeZotti</persName> gives Margaret a generous, fun-loving quality from the outset of this scene and reveals her to be a woman with her own desires and convictions. The scene establishes that Margaret is a cut above the other country folk and the supporting actors in the scene made their country folk as ridiculous as possible to emphasize the difference between the disguised Lacy and the real farmers at the fair.</p>
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         <list rend="simple">
            <head>Navigation</head>
            <item>See <ref target="doc:emdFBFB_ProductionCredits">Production Credits</ref>.</item>
            <item>Go back to <ref target="doc:emdFBFB_video">scene index for the SQM production of <title level="m">Friar Bacon and Friar Bungay</title></ref>.</item>
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