owne" as censor Henry Herbert complained in his office book--and of the players of Jonson's The Magnetic Lady speaking passages not in the allowed script. When the latter caused offence they tried at first to blame the author and the censor. Likewise George Chapman blamed the actors of his Byron for speaking what the Master of the Revels had crossed out (232-3). Other plays, it seems, were performed without even being first shown to the censor. Moreover, the company practices tended to limit the power of his authority. Daborne's letter to Philip Henslowe about his play Machiavelliand the Devil indicates that he has not finished it--so obviously the Master of the Revels had not seen it--yet the actors had it "in parts". (Might not "in parts" just meanTimes Literary Supplement 3 December 2010: 9.

Dutton, Richard. “The Famous Victories and the 1600 Quarto of Henry V.” In Locating the Queen's Men, 1583-1603: Material Practices and Conditions of Playing. Ed. Holger Schott Syme and Andrew Griffin. Studies in Performance and Early Modern Drama. Aldershot: Ashgate, 2009. 133-44.

Egan, Gabriel. “Shakespeare: Editions and Textual Studies.” The Year's Work in English Studies 87: Covering Work Published in 2006. Ed. William Baker and Kenneth Womack. Oxford: Oxford UP, 2008. 336-385, 501-506.