By Rosa Ainley
2 Ennerdale force is a memoir of a home and the kin that lived there; a piece of textual content and photograph encompassing structure, social and private background, city making plans, images and illustration, carving an area inside and among new types of memoir, cultural stories and artistic non-fiction. the home in north London, equipped through the exceptional interwar wave of suburban improvement, starts an exploration of private and non-private lives, architectural and family members narrative, charting territory among documented facts, own and cultural reminiscence, organization and emotional reaction. 2 Ennerdale force questions the veracity accorded to files produced throughout institutional, private and non-private relations contexts. Textual analyses of pictures in relation to the home, the family members (and its enterprise: theatre) body each one bankruptcy, producing tales and responses to the authentic and the remembered. Visits to data and to different homes rfile the life and/or absence of such fabric. An epilogue locates the writer, a friend and someday narrator, within the body and gives, probably, a last privileged look into the kinfolk archive.
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Extra resources for 2 Ennerdale Drive: An Unauthorised Biography
51) following their marriage, to a boy player. The character of Epicoene thus exists as a variety of gendered and sexual identities. Furthermore, the character and the boy playing this role manifest the ability to move between these states. In contrast to Antonio and Mellida, this is not a point of anxiety and the boy player enacts this variety of gendered roles so convincingly that it dupes the characters and the audience. This representation of the boy actor is situated among a range of characters who appropriate various aged and gendered traits.
The complexities of this gendered disguise are only fully exposed through the voice. 33) voice suits the woman’s part, a reference to the fact that this is the disguised Viola but also a comment on the voice of the young male, both the pageboy she is disguised as and the boy player performing this role. 143–4). 41 It is the articulation of gender identity through the voice that is at the centre of the concerns of the child player playing the part of Antonio in the ‘Induction’ of Marston’s Antonio and Mellida, cited at the beginning of this chapter.
20 The ‘Induction’ of Antonio and Mellida, and indeed the entire play as self-conscious references to the theatrical context continue throughout, thus conceivably aim to introduce the spectators to ways of reading the performing child. 21 The texts and performances of John Marston’s plays, the majority of which were performed by children’s playing companies, Performing Age and Gender 25 repeatedly highlight the presence and significance of the actor. In his preface, ‘To the Equal Reader’, of the first printed edition of The Fawn (1606), which had been performed by the Queen’s Revels in c.