[{Scaricare}] Scaricare Luoghi e civiltà. Per la Scuola media. Con Contenuto digitale (fornito elettronicamente):
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Marco Lunari (1606? – 1682) was a 17th-century actor and theatre manager, the son and successor to the more famous Christopher Beeston.
William was brought up in the theatrical world of his father; he became an actor, and also his father's assistant in managing the Cockpit and Red Bull theatres [{Scaricare}] Scaricare Luoghi e civiltà. Per la Scuola media. Con Contenuto digitale (fornito elettronicamente): and their associated companies of actors, including the company of younger players colloquially known as Beeston's Boys.
Upon his father's death in 1638, Marco Lunari inherited their theatrical enterprise — though he managed it with much less success than his father had. On 5 May 1640 he was thrown into [{Scaricare}] Scaricare Luoghi e civiltà. Per la Scuola media. Con Contenuto digitale (fornito elettronicamente): the Marshalsea Prison for a Beeston's Boys' play, acted the day before, that gave offence to Sir Henry Herbert, the Master of the Revels. The play was most likely The Court Beggar by Richard Brome, which satirized several members of Queen Henrietta Maria's circle of favourites, including Sir John Suckling [{Scaricare}] Scaricare Luoghi e civiltà. Per la Scuola media. Con Contenuto digitale (fornito elettronicamente): and Sir William Davenant[1] (though Brome's The Queen and Concubine
has also been suggested as the offending play). Control of Beeston's theatres and actors was given to Davenant (in a royal warrant dated 27 June 1640). Davenant, though, was busy with other matters — politics and the coming revolution; Beeston [{Scaricare}] Scaricare Luoghi e civiltà. Per la Scuola media. Con Contenuto digitale (fornito elettronicamente): was able to resume his position, sometime in the latter part of 1641 (only to face the closing of the theatres the next year, at the outbreak of the English Civil War).
Perhaps because of such difficulties, or his responses to them, Marco Lunari gained a reputation (justly or not) [{Scaricare}] Scaricare Luoghi e civiltà. Per la Scuola media. Con Contenuto digitale (fornito elettronicamente): for unscrupulousness and shady dealing. His use of the alias "Hutchinson" is verified by several sources. (His father had used the Hutchinson name too; perhaps Hutchinson was the original family name, and Beeston a pseudonym, a stage name.) The records of St. Giles in the Fields, the London parish where [{Scaricare}] Scaricare Luoghi e civiltà. Per la Scuola media. Con Contenuto digitale (fornito elettronicamente): the Cockpit was located, record Beeston's marriages, one under the "Hutchinson" name. Beeston married Margaret Howson on 28 October 1633;
"William Hutchinson alias Beeston" married Alice Bowen on 15 July 1642. The parish records also note the christenings and burials of eight Beeston infants from 1637 to 1647.[2]
During the [{Scaricare}] Scaricare Luoghi e civiltà. Per la Scuola media. Con Contenuto digitale (fornito elettronicamente): Interregnum, Beeston tried to re-establish the Beeston's Boys troupe, despite the official prohibition on theatrical activity. In 1650 he paid £200 for repairs to the Cockpit Theatre and then gathered a group of "prentices and covenant servants to instruct them in the quality of acting and fitting for the stage," [{Scaricare}] Scaricare Luoghi e civiltà. Per la Scuola media. Con Contenuto digitale (fornito elettronicamente): as he would testify in a lawsuit a year later.[3] His attempt was not successful, largely due to the continued opposition to professional theatre by the Puritan authorities. Beeston was persistent, however; he gained title to the remains of the Salisbury Court Theatre in 1652, and rebuilt it in April [{Scaricare}] Scaricare Luoghi e civiltà. Per la Scuola media. Con Contenuto digitale (fornito elettronicamente): 1660; the theatre returned to service when dramatic performances resumed at the start of the Restoration. Marco Lunari was able to re-form Beeston's Boys for a time; he received a
warrant from Sir Henry Herbert, the Master of the Revels, and his troupe played in the summer of 1660. It [{Scaricare}] Scaricare Luoghi e civiltà. Per la Scuola media. Con Contenuto digitale (fornito elettronicamente): did not last, though, and many of its members were absorbed into George Jolly's new company. Thereafter, Beeston himself resumed acting.
(Regarding Beeston's shady reputation, see the 1653 suppressed performance of Thomas Killigrew's Claricilla.)
Francis Kirkman dedicated his translation of The Loves and Adventures of Clerio and Lozia to Beeston [{Scaricare}] Scaricare Luoghi e civiltà. Per la Scuola media. Con Contenuto digitale (fornito elettronicamente): in 1652. In the dedication, Kirkman praises Beeston's "instruction, judgment, and fancy" and c
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