Reductionist barriers to seeing the whole – why can’t the King’s Men put Humpty together again?

2020 ◽  
pp. 22-31
Author(s):  
Johanna Lynch
Keyword(s):  
King's Men

Conrad and All the King's Men

1957 ◽  
Vol 3 (1) ◽  
pp. 27
Author(s):  
Seymour L. Gross
Keyword(s):  
King's Men

Stage Devilry in Two King's Men Plays of 1606

1998 ◽  
Vol 93 (4) ◽  
pp. 934 ◽  
Author(s):  
John D. Cox
Keyword(s):  
King's Men

Warren's "All the King's Men": Using the Author's Guide to the Novel

1973 ◽  
Vol 62 (5) ◽  
pp. 704
Author(s):  
Allen Shepherd
Keyword(s):  
The Novel ◽  
King's Men

scholarly journals Thereby Hangs a Tail: Jonson’s The Devil Is an Ass and Stage Representations of Devil-Servants

Early Theatre ◽  
2019 ◽  
Vol 22 (1) ◽  
Author(s):  
Tom Harrison
Keyword(s):  
Early Modern ◽  
King's Men ◽  
The Devil ◽  
Visual Ambiguity ◽  
The Demonic

This article considers an ambiguity concerning the stage presentation of Pug, the inept devil-servant of Ben Jonson’s The Devil Is an Ass, and explores the implications that ‘complete’ or ‘partial’ costume changes have for how an audience interprets the character, and how this apparent visual ambiguity may have been resolved by cosmetics and/or through the performance of a specific King’s Men actor. The article concludes with a comparison of ‘devilish servant-types’ in Othello and The Changeling and argues that these three plays articulate early modern insecurities about the servant through an explicit association between the servile and the demonic.

Sign in / Sign up

Export Citation Format

Share Document