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|a Burkhardt, Louis Carl
|4 aut
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|a All the World's a Staged Desire: Playwrights, Puritans, and the Elizabethan Playhouse
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|c 1993
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|g 54(1993), 3, Seite 937
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|g volume:54
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|l Abstract: The primary question adressed is how the Elizabethan theater (1576-1642) elicited such strong support and such bitter disapproval from the same society, at times from the same party. Secondary questions interrogate the dramatic, theatrical, and social mechanisms that vivified the playhouses. In order to answer these questions, I combine a matrix of perspectives on the theater: the cultural and historical roots of the playhouse (citing the Cambridge Ritualists (Harrison, Murray, Cornford), A.P. Rossiter, and Glynne Wickham), anecdotal descriptions of the playhouse (esp. Thomas Platter's and Thomas Dekker's), information supplied by the drama itself (prologues, epilogues, Shakespeare's Hamlet, and Jonson's Bartholomew Fair), and, finally, the antitheatrical writings of the Puritans (Northbrooke, Stubbes, Gosson, Rainoldes, Prynne). The theoretical approach is a cultural anthropology derived primarily from the work of René Girard, as well as from Eric Gans. This approach allows me to view the Elizebthan playhouse as a descendent of sacred institutions. While the playhouse operates as a secular, capitalistic enterprise, it gains strength from the 'sacred' in at least two respects: (1) artistically, providing dramatic representations of rivalry, collective victimage, and restored order; (2) socially, providing a place for spectators to gather and experience an aestheticized, vicarious form of the sacred. The Elizabethan playhouse, I conclude, was a pre-eminent locus of desiring among Elizabethans. The Puritans were especially aware of the mimetic or imitative dimensions of desire as they functioned through the playhouse. Both those who supported the theater and those who attacked it were altered significantly by their relation to the theater. The closing of the public playhouses in 1642 simply punctuated the precarious position they always filled between the sacred and the secular, as well as between the purely aesthetic and the sensual. (Source: DAO).
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