Friar Bacon and Friar Bungay: Scene 7 FBFB: Scene 7 Director Peter Cockett Author of Annotations Peter Cockett Video Director Holger Schott Syme Video Compiler Peter Cockett Production Company Shakespeare and the Queen’s Men Project Conversion and Remediation LEMDO Team Social Sciences and Humanities Research Council of Canada McMaster University Poculi Ludique Societas University of Waterloo University of Toronto Centre for Drama, Theatre & Performance Studies University of Victoria Friends of the ISE

Released with Queen’s Men Editions 2.0

 University of Victoria on the Linked Early Modern Drama Online Platform

Intellectual copyright in this edition is held by the editor, Peter Cockett. The critical paratexts, including this Scene 7 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.

Queen’s Men Editions

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.

Encoded in TEI P5 according to the LEMDO Customization and Encoding Guidelines

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 Published file. Added paragraph xml:id, minor copyedit, tagged persName. Updated metadata Remediated IML encoding habits in this file. Changed hi elements to title elements. Repointed tln references to document and div ids or anchors. Changed status from published back to TEI_INP to trigger proofreading later. Created file from emdFBFB_video_scene06 Peer review arranged by QME Editorial Board

Paul Hopkins (Prince Edward) bursts on stage in the height of vengeful passion and effects the kind of sudden change of mood the SQM experiment had discovered to be typical of Queen’s Men dramaturgy. Taken in isolation, the opening sequence of this scene might appear to belong in a tragedy. The pattern of the scene was familiar to Hopkins from the two conversion scenes in Famous Victories (Scenes 6 and 8), and the central conversion scene of King Leir (Scene 19). In fact, the company replicated the blocking of the Leir scene with Hopkins standing between Lacy and Margaret in the same way the Murderer stood between Leir and Perillus just prior to relenting. The SQM company found the plays worked best when they committed fully to the specific demands of each scene rather than worrying about how all the scenes worked together. Here each actor plays out the potentially fatal stakes of the action, deeply investing themselves in the passionate rhetoric Greene gives to their characters in this scene. While the similarities with other scenes in the repertoire helped the actors quickly understand the basic pattern of the scene, playing out the specifics of the dialogue revealed important differences. The Murderer’s conversion in King Leir is religious, caused in part by the thundering heavens; Edward’s conversion is depicted as the victory of reason over passion () and therefore has a more humanist tone.

 Navigation See Production Credits. Go back to scene index for the SQM production of Friar Bacon and Friar Bungay.