163:, as not only were they associated with John Lyly, they had "helped to publicise his contributions". All theatre companies, including adult ones, were forced to curb their productions. Boy companies became scarce until the Children of Paul's returned a decade later in 1599–1600. By the time of its reopening, the Children of Paul's may have had up to 17 boy players (84 Roslyn Lander Knutson). For the next ten years the boy companies were out of fashion on the stage.
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sometimes made some money for themselves. When fashionably dressed men wearing spurs, which could be loud and distracting to other church-goers, would enter the chapel, the choirboys would sometimes demand money as a fee. This fee was called "spur money". Choirboys were allowed time to play on
Thursday afternoons, and in one document from 1598, a verger named John Howe notes an occasion when the boys broke windows and disrupted churchgoers.
241:
In 1603, the
Children of Paul’s performed the controversial play by George Chapman: The Old Joiner Of Aldgate. This is a lost play considered to be a dramatised representation of the legal wrangling in the Star Chamber of one John Flaskett (a local book binder) and a woman of considerable inheritance
171:
By 1600, conditions had changed; a new Master, Edward Peers (died 1612), allowed the
Children of Paul's to resume acting, and apparently faced no significant opposition. The company operated on a smaller scale than before, though only playing on Sundays and Mondays and charging half the amount for
111:, in 1566. They performed a play by Sixt Birk, called Sapientia Solomonis, which "dramatized the relationship between King Solomon and the Queen of Sheba in a way appropriate for schoolboys". Under Master Thomas Giles (1584–1599?), the Children of Paul's became closely identified with the plays of
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The youth who would become choirboys and boy players for the
Children of Paul's ranged in age from six to their mid-teens. They would be educated and boarded at the choir school, trained in not only singing but in grammar and literacy. Although their basic needs were taken care of, choirboys
249:, another company that formed c. 1606, might have been to some degree the Children of Paul's under another name, but this is uncertain. (The King's Revels Children never gelled as an enterprise; they collapsed in litigation among their backers in 1609.)
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Church, just to the south-west of St Paul's
Cathedral. This tended to limit their drama; sometimes plays had to be cut short to accommodate the schedules of the religious institutions in the middle of which the boy players operated.
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in London had a boys' choir since the 12th century; it was only in the 16th century that they began to act in dramatic performances. Playing may have become a part of the boys' education as a result of the influence of
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was Master of the
Children of Paul's in the years 1557–82; in his era, the boys performed 27 times at court, more than any other troupe, adult or child. In 1560–1572
233:, the Children of Paul's had no dedicated theatrical space of their own. When they were not playing at Court, they acted in the church where they trained as choristers –
196:, among other dramatists of their generation. Marston was mainly identified with the Children of Paul's, as Jonson was identified with the Children of the Chapel; in the
417:
Parish registers of St
Gregory by St Paul, London. The full entry reads: "Edward Pierce, maister of the Children of Paules, buried 15 June 1612".
156:(1583–1584), a foretaste of the period of public performance that was to follow for both companies at the start of the 17th century.
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However it could also be that the company simply merged with the
Children of the Blackfriars, rather than disappearing altogether.
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he was betrothed to: Agnes How. This controversy cannot have helped in the
Children of Paul’s attempts to continue performing.
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Hentschell, Roze F. "'Our
Children Made Enterluders': Choristers, Actors, and Students in St Paul's Cathedral Precinct."
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illustrate the kind of drama the boys acted in their first year. The Children of Paul's performed the works of
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39:, they were an important component of the companies of boy players that constituted a distinctive feature of
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teachings, which encouraged students to "develop poise and improve their skill in speaking Latin by acting"
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The Children of Paul's ceased playing about 1606 for unclear reasons. Some scholars have believed that the
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271:"'Our Children Made Enterluders': Choristers, Actors, and Students in St Paul's Cathedral Precinct"
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Shapiro, Michael (2004). "Boy Companies and Private Theatres". In Kinney, Arthur F. (ed.).
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of 1599–1601, the Children of Paul's acted Marston's side of the contest, with the plays
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361:(3rd ed.). Cambridge, UK: Cambridge University Press. p. 33.
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However, unlike the Children of the Chapel, who worked in the second
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Cambridge, UK, Cambridge University Press, 1992. p. 33-54.
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the attendance fee than they had in 1590. The anonymous plays
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at Court a month and a day later, on 2 February; and his
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Shapiro, Michael. "Boy Companies and Private Theaters."
504:, edited by Arthur F. Kinney, Blackwell Publishing Ltd,
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In 1590, the Children of Paul's were implicated in the
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used them throughout his tenure, as later mentioned in
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Troupe of boy actors in Elizabethan and Jacobean London
495:
Playing Companies and Commerce in Shakespeare's Time,
327:. Malden, MA: Blackwell Publishing Ltd. p. 315.
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at Court, probably on 1 January 1588; they acted his
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Playing Companies and Commerce in Shakespeare's Time
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Also in the 1580s the Children of Paul's joined the
71:In 1527–1528, the Children of Paul's performed for
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145:, were also presented at Court in these years.
497:Cambridge University Press, 2001, p. 84.
397:. Cambridge University Press. p. 84.
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133:on 6 January 1590. Other of Lyly's plays,
454:4 Volumes, Oxford, Clarendon Press, 1923.
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487:https://dx.doi.org/10.12745/et.19.2.2837
468:A Shakespeare Companion 1564–1964.
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152:in public performances at the first
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459:The Shakespearean Stage 1574–1642.
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359:The Shakespearean Stage 1574–1642
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502:A Companion to Renaissance Drama
325:A Companion to Renaissance Drama
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391:Knutson, Roslyn Lander (2001).
481:no. 1, 2016, p. 179–196.
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181:The Wisdom of Doctor Dodypoll
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269:Hentschell, Roze F. (2016).
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23:was the name of a troupe of
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107:and her guest at the time,
41:English Renaissance theatre
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470:Baltimore, Penguin, 1964.
207:Jack Drum's Entertainment
493:Knutson, Roslyn Lander.
310:Hentschell 2016, p. 186.
301:Hentschell 2016, p. 184.
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175:The Maid's Metamorphosis
347:Chambers, Vol. 2, p. 18
235:St Gregory by St Paul's
35:London. Along with the
526:1606 disestablishments
452:The Elizabethan Stage.
247:King's Revels Children
150:Children of the Chapel
77:Cardinal Thomas Wolsey
37:Children of the Chapel
357:Gurr, Andrew (1992).
288:10.12745/et.19.2.2837
142:Love's Metamorphosis
87:Master of the Revels
508:2004, p. 315.
231:Blackfriars Theatre
202:War of the Theatres
154:Blackfriars Theatre
95:William Shakespeare
61:St Paul's Cathedral
83:Sebastian Westcott
21:Children of Paul's
435:Gurr 1992, p. 54.
426:Gurr 1992, p. 51.
381:Gurr 1992, p. 50.
368:978-0-521-42240-6
334:978-1-4051-2179-8
109:Cecilia of Sweden
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29:Elizabethan
515:Categories
443:References
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25:boy actors
483:EBSCOhost
118:Gallathea
113:John Lyly
47:Education
477:vol. 19,
226:(1601).
124:Endymion
66:humanist
33:Jacobean
97:' play
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130:Midas
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