Book contents
- Frontmatter
- Having Our Will: Imagination in Recent Shakespeare Biographies
- Toward a New Biography of Shakespeare
- Jonson, Shakespeare and the Exorcists
- ‘Lending soft audience to my sweet design’: Shifting Roles and Shifting Readings of Shakespeare’s ‘A Lover’s Complaint’
- ‘Armed at point exactly’: The Ghost in Hamlet
- Writing About Motive: Isabella, the Duke and Moral Authority
- Writing Performance: How to Elegize Elizabethan Actors
- Elizabeth Montagu: ‘Shakespear’s poor little Critick’?
- Rewriting Lear’s Untender Daughter: Fanny Price as a Regency Cordelia in Jane Austen’s Mansfield Park
- The Prequel as Palinode: Mary Cowden Clarke’s Girlhood of Shakespeare’s Heroines
- Shakespeare Among the Workers
- Virginia Woolf Reads Shakespeare: Or, her Silence on Master William
- Shakespeare and the Invention of the Epic Theatre: Working with Brecht
- Dramatizing the Dramatist
- Shakespeare in Drama Since 1990: Vanishing Act
- Writing about [Shakespearian] performance
- Shakespeare and the Prospect of Presentism
- Writing Shakespeare in the Global Economy
- The ‘Complexion’ of Twelfth Night
- Translation as Appropriation: Vassilis Rotas, Shakespeare and Modern Greek
- How Old Were Shakespeare’s Boy Actors?
- Mistress Tale Porter and the Triumph of Time: Slander and Old Wives’ Tales in The Winter’s Tale
- Shakespeare Performances in Ireland, 2002–2004
- Shakespeare Performances in England, 2004
- Professional Shakespeare Productions in the British Isles January–December 2003
- The Year's Contributions to Shakespearian Study 1 Critical Studies
- 2 Shakespeare in Performance
- 3 Editions and Textual Studies
- Books Received
- Index
How Old Were Shakespeare’s Boy Actors?
Published online by Cambridge University Press: 28 March 2007
- Frontmatter
- Having Our Will: Imagination in Recent Shakespeare Biographies
- Toward a New Biography of Shakespeare
- Jonson, Shakespeare and the Exorcists
- ‘Lending soft audience to my sweet design’: Shifting Roles and Shifting Readings of Shakespeare’s ‘A Lover’s Complaint’
- ‘Armed at point exactly’: The Ghost in Hamlet
- Writing About Motive: Isabella, the Duke and Moral Authority
- Writing Performance: How to Elegize Elizabethan Actors
- Elizabeth Montagu: ‘Shakespear’s poor little Critick’?
- Rewriting Lear’s Untender Daughter: Fanny Price as a Regency Cordelia in Jane Austen’s Mansfield Park
- The Prequel as Palinode: Mary Cowden Clarke’s Girlhood of Shakespeare’s Heroines
- Shakespeare Among the Workers
- Virginia Woolf Reads Shakespeare: Or, her Silence on Master William
- Shakespeare and the Invention of the Epic Theatre: Working with Brecht
- Dramatizing the Dramatist
- Shakespeare in Drama Since 1990: Vanishing Act
- Writing about [Shakespearian] performance
- Shakespeare and the Prospect of Presentism
- Writing Shakespeare in the Global Economy
- The ‘Complexion’ of Twelfth Night
- Translation as Appropriation: Vassilis Rotas, Shakespeare and Modern Greek
- How Old Were Shakespeare’s Boy Actors?
- Mistress Tale Porter and the Triumph of Time: Slander and Old Wives’ Tales in The Winter’s Tale
- Shakespeare Performances in Ireland, 2002–2004
- Shakespeare Performances in England, 2004
- Professional Shakespeare Productions in the British Isles January–December 2003
- The Year's Contributions to Shakespearian Study 1 Critical Studies
- 2 Shakespeare in Performance
- 3 Editions and Textual Studies
- Books Received
- Index
Summary
Female roles on the pre-Restoration English stage were played not by women but by boys dressed as women. This well-known fact has occasioned much comment in recent years by critics interested in the gender implications of boys playing women who sometimes disguised themselves as boys. Many such critics have implicitly assumed that the ‘boys’ in question were pre-adolescent children, perhaps eight to twelve years old, whose ability to play the complex female roles of Shakespeare or Webster would be questionable. They have thus suggested that such roles must have been played by adult sharers, much as in modern all-male productions at Shakespeare’s Globe and elsewhere. From a psychosexual perspective, it makes an obvious difference whether Cleopatra was played by a ten-year-old child, a thirty-year-old man, or by a ‘boy’ of some intermediate age, such as seventeen.
Such discussions have tended to be short on hard evidence, often relying on subjective notions of what would or would not have been plausible for an Elizabethan playing company. It is often assumed that little or no documentary evidence survives about these boys, and that we must rely mostly on guesswork and speculation. In fact, a substantial amount of documentary evidence does survive about pre-Restoration boy players, but much of it has remained buried in archives or scattered across various books and articles. When gathered and analysed, this evidence points to a consistent conclusion: until the early 1660s, female roles on the English stage (including the most demanding, complex parts) were played by adolescent boys, no younger than twelve and no older than twenty-one or twenty-two, with a median of around sixteen or seventeen.
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- Shakespeare Survey , pp. 220 - 246Publisher: Cambridge University PressPrint publication year: 2005
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