Abstract:This essay contextualizes Ben Jonson’s The Alchemist in relation to the social controversy generated by London’s rich runaways in the first decade of the seventeenth century. Reading the surviving playtext as a record of a site-specific performance at London’s Blackfriars playhouse in November 1610, I argue that the notable presence of the Blackfriars’ stage-sitters is a crucial dimension of Jonson’s dramaturgy, one previously unconsidered in scholarship on the play. Occupying a contradictory play space that is informed by contemporary theories positing a material connection between playgoing and the threat of plague exposure, on the one hand, and the emergent public awareness of plague mortality as a class-based phenomenon, on the other, The Alchemist ironically stages the hazardous proximity of other bodies as a provocation to its socially privileged audiences, especially those seated onstage at the Blackfriars playhouse in November 1610.

中文翻译：

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“少呼吸，远呼吸”：乔森（Jonson）的《炼金术士》中其他身体的危险近在咫尺

摘要：本文将本·琼森（Ben Jonson）的《炼金术士》（The Alchemist）与十七世纪前十年伦敦富人逃亡事件引发的社会争议相关联。我将幸存的剧本作为1610年11月在伦敦Blackfriars剧场现场表演的记录，我认为Blackfriars的舞台主持人的显着存在是Jonson戏剧性的一个关键方面，该戏剧性以前是未被考虑的奖学金。一方面占有一种相互矛盾的游戏空间，另一方面，现代理论在游戏过程和鼠疫的暴露威胁与公众对鼠疫死亡率这一基于阶级的现象的认识之间建立了物质联系，