Performance Style
In his time, Kempe was as famous for his stage jigs as for his acting in regular drama. The jig, a kind of rustic cousin to commedia dell'arte, featured as many as five performers in a partially improvised song-and-dance routine. Jigs had plots, often bawdy, but the emphasis was on dancing and physical comedy. Two of Kempe's jigs survive in English, and two more in German. Examples of the jigs may be seen in the manuscript collection of John Dowland (now in the Cambridge University Library). A famous 17th century jig called Kemp's Jig was named after Will Kempe and was published in the first book of John Playford's The English Dancing Master of 1651. The tune has received a number of modern renditions, including those by Jan Akkerman and Gryphon.
As an actor, Kempe is certainly associated with two roles: Dogberry in Much Ado About Nothing and Peter in Romeo and Juliet. (In the quarto text of the latter, and in both quarto and First Folio text of the former, he is identified in speech prefixes and stage directions.) From these hints, a list of Kempe's parts has been deduced which, if conjectural, is not improbable: Costard in Love's Labours Lost, Bottom in A Midsummer Night's Dream, Lancelot Gobbo in The Merchant of Venice, and Cob in Ben Jonson's Every Man in His Humour. Falstaff is a more ambiguous case. Though Falstaff presents some features of an Elizabethan dramatic clown, his character is higher in class and more complex than the other roles with which Kempe is associated.
Read more about this topic: William Kempe
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