CHAPTER FIVE. THE STAGING
[1] Ronald Watkins, _On Producing Shakespeare_ (New York, 1950), p. 104.
[2] Summerson, pp. 30-51. See especially the plans of Wollaton Hall, p. 34; Hardwick Hall, p. 36; and Charlton House, p. 48.
[3] The determination upon the figure of more than five characters composing a group scene is not arbitrary. Five actors can function on such a stage as the Globe without encountering problems of covering each other or vying for attention. Furthermore, Shakespearean scenes jump from those with five characters to those with appreciably more. Exceptions are noted in the text of the chapter, especially in the discussion of category two of the group scenes.
[4] A. H. Thorndike, _Shakespeare’s Theater_ (New York, 1916), p. 83. Chambers expresses a similar but less sweeping version of this view in _Elizabethan Stage_, III, p. 86.
[5] Alfred Harbage, _Theatre for Shakespeare_ (Toronto, 1955) pp. 31 ff., estimates that in the 1,463 scenes of the 86 plays produced in the popular theater between 1576 and 1608, only 90, or slightly more than 6 per cent of the scenes require “the use of a curtained recess or equivalent stage enclosure.”
[6] Sir Mark Hunter, “Act- and Scene-Division in the Plays of Shakespeare,” _R.E.S._, II (1926), 296 ff. J. Dover Wilson, writing shortly afterward, concurred in this definition. “Act- and Scene-Division in the Plays of Shakespeare: A Rejoinder to Sir Mark Hunter,” _R.E.S._, III (1927), 385.
[7] C. M. Haines, “The ‘Law of Re-entry,’” _R.E.S._, I (1925), 449-451.
[8] W. W. Greg, _Two Elizabethan Stage Abridgements_, pp. 32-33.
[9] The difference between the figure of 339 entrances and 644 entrances and exits results from a difference in dividing scenes in the plays. For the purpose of considering split entrances and exits, I thought it best to eliminate any instances where it was even probable that a scene continued, as in _Hamlet_, from III, iv, to IV, i.
[10] A. C. Sprague, _Shakespeare and the Audience_ (Cambridge, Mass., 1935), p. 66.
[11] Examples occur in _True Tragedy of Richard III_, 475-477, 581 ff.; _Love and Fortune_, 1370 f., _Sir Clyomon and Sir Clamydes_, 828, 852 f., and _Cambises_, 127 ff., 602 ff.
[12] Sprague, pp. 67-68.
[13] Warren Smith, “The Third Type of Aside in Shakespeare,” _M.L.N._, LXIV (1949), 510.
[14] There are five speeches which may or may not be asides. These are not included. _Macbeth_, I, iii, 116-117; V, iii, 20-28; _Lear_, I, iv, 244-245, 251, 255-256; IV, ii, 83-87; _Hamlet_, III, ii, 191. Four additional speeches are written so that the character either speaks loudly enough for the sound but not the sense to be overheard or fears being overheard. _Caesar_, II, iv, 39-43; _Twelfth Night_, III, iv, 1-4; _Othello_, IV, i, 238-249; _Antony and Cleopatra_, III, vii, 6-10.
[15] _Coriolanus_, II, i, shows the same characteristics. Brutus and Sicinius who have been talking to Menenius step aside, according to the stage direction (106), when the Roman ladies enter. Shortly after they do so, the triumphal procession for Coriolanus enters, then moves on to the Capitol. Upon this exit Brutus and Sicinius, according to the Folio, “enter” (220 ff.) conversing about what they have seen. Apparently they had gone off and yet they are aware of what has taken place. The circumstances fit the conditions of the observation scene that I have been describing.
[16] Paul V. Kreider, _Repetition in Shakespeare’s Plays_ (Princeton, 1941), Chapter One, “The Mechanics of Disguise”; M. C. Bradbrook, “Shakespeare and the Use of Disguise in Elizabethan Drama,” _Essays in Criticism_, II (1952), pp. 159-168; Victor O. Freeburg, _Disguise Plots in Elizabethan Drama_ (New York, 1915).
[17] _Twelfth Night_, IV, ii, 69-70. Maria. “Thou mightst have done this without thy beard and gown. He sees thee not.”
[18] _Julius Caesar_, IV, iii, 267-308; _Macbeth_, III, iv, 38-73, 93-107; _Hamlet_, I, i, 18-69, 126-175; I, iv, 38-91; I, v, 1-113; III, iv, 102-136. From this list I exclude the show of kings in _Macbeth_, IV, i. The apparitions do not pass over the stage immediately, but assemble upon it until Banquo’s ghost “points at them for his.” The lines that follow being of doubtful authenticity, they offer no assistance in determining how the apparitions depart, though nothing in the text conflicts with the conventional manner of staging ghost scenes.
[19] W. J. Lawrence, _Pre-Restoration Stage Studies_ (Cambridge, 1927), p. 106.
[20] _A Warning for Fair Women_, Sig. E3^v. In the midst of a dumb show which takes place on the platform, the following direction occurs: “Chastitie, with her haire disheveled, and taking mistres Sanders by the hand, brings her to her husbands picture hanging on the wall, and pointing to the tree [above the center trap] seemes to tell her, that that is the tree so rashly cut downe.”
[21] In the Folio Edgar speaks the final lines, but in this respect the Quarto follows general usage. Of the other fourteen Shakespearean Globe plays, the ranking figure definitely speaks the final lines in eleven of them (_All’s Well_, King; _Measure for Measure_, Duke; _As You Like It_, Duke; _Twelfth Night_, Duke; _Coriolanus_, Aufidius; _Timon_, Alcibiades; _Macbeth_, Malcolm; _Hamlet_, Fortinbras; _Othello_, Lodovico; _Antony and Cleopatra_, Caesar; _Pericles_, Pericles). The other three plays present special instances. _The Merry Wives of Windsor_ has no ranking figure, but it is appropriate for Ford to conclude the action. _Julius Caesar_ apparently has two ranking figures, Antony and Octavius. But the fact that Octavius speaks last points to his triumph in _Antony and Cleopatra_. Pandarus concludes _Troilus and Cressida_. This play, as I have shown, has a unique structure.
INDEX TO THE GLOBE PLAYS
_A Larum for London_, dating of, xiii; dramaturgic practice in, 30, 35, 43-44; properties in, 224, 225; stage, use of, 93; staging in, 188; theme, 60-61
_All’s Well That Ends Well_, 15, 136, 229; character types in, 148; dating of, xi; dramaturgic practice in, 30, 36-37, 143; localization, 67, 220; narrative pattern in, 51; properties in, 75, 77, 221, 222; stage, use of, 211-212; staging, 172, 173, 179, 187, 196, 204, 205, 208-209, 211
_Antony and Cleopatra_, 15, 134, 229; character types in, 149, 152, 153; dating of, xi; dramaturgic practice in, 26, 32-33, 38, 42, 47, 59, 143, 154; localization, 66-67, 220; narrative pattern in, 53; opening action, 34; properties in, 75-76, 78-79, 221, 222; stage, use of, 92; staging, 166-167, 170-171, 173, 184, 195, 205, 206, 208, 212; staging of IV, xv, 230-231
_As You Like It_, 229; character types in, 148, 150, 152; dating of, xi-xii; dramaturgic practice in, 37-39, 54, 59, 137; exit lines, 107; localization, 67, 73, 220; narrative pattern in, 53; opening action, 34; properties in, 75, 221, 222; stage, use of, 94, 211-212; staging, 159-160, 167, 171-172, 180, 184, 195, 198, 208-212, 226
Burbage’s roles in, 1, 134, 136
Character types, 148-154
_Coriolanus_, 229; character types in, 148, 149, 152; dating of, xi; dramaturgic practice in, 37, 42, 207; localization, 64, 66, 220; narrative pattern in, 49-50; properties in, 77, 221; staging, 169, 182, 204, 205, 206, 226
_Cromwell, Thomas Lord._ See _Thomas Lord Cromwell_.
Dating of the plays, x-xiv
_Devil’s Charter, The_, dating of, xiii; dramaturgic practice in, 35; properties in, 77, 79, 81, 95, 223, 224, 225; stage, use of, 82-85, 88, 90, 92-93, 185; staging, 164-165, 185, 188, 195, 200-201, 204, 227; theme, 61
Dramaturgic practice: causation in, 32-33, 111, 143, 154; climactic plateau (climax) in, 39-44, 55; contrast in, 59-60; distancing of action, 147; finale in, form of (_see also_ staging of finale), 35-39; in group scenes, 137; liaison between scenes, 45-47; narrative development in, 30, 34-35, 38-39; scene structure in, 54-57; split structure in, 43-44; temporal illusion in, 157-158
_Every Man Out of His Humour_, chorus, use of, 25-26; dating of, xiii; dramaturgic practice in, 30, 35-36, 147; localization, 68; “mirror image,” 28; properties in, 223, 224; stage, use of, 87; staging, 172-173; theme, 61
Exit lines, 107
_Fair Maid of Bristow_, character type in, 152; dating of, xiii; dramaturgic practice in, 35-37, 59; narrative pattern in, 51-53; properties in, 79-80, 223, 224, 230; staging, 188, 198, 227-228
Formal scenes, 229
_Hamlet_, xii, 1, 58, 118, 121, 132, 135, 136, 145, 156, 229; character types in, 148-150, 154; dating of, x; dramatic history of, 18; dramaturgic practice in, 38, 40-42, 46-47, 54, 55, 59, 137; entrance pattern, 73; localization, 64-67, 220; narrative pattern in, 39, 49-50; opening action, 34; properties in, 75, 78, 79, 221, 222; stage, use of, 88, 92-93, 194-195, 201-202; staging, 171, 181, 183-185, 187, 192, 193-195, 200-203, 205, 208-209, 212
_Julius Caesar_, 229; character types in, 148, 153; dating of, x; dramaturgic practice in, 33, 38, 42, 54, 57, 59, 158, 207; localization, 64, 66, 220; narrative pattern in, 50; opening action, 34; properties in, 74, 79, 221, 222; spatial illusion, 164; stage, use of, 92; staging, 163-164, 169, 172, 175, 178, 180, 185, 186-187, 203-204, 205-206, 208-210, 212, 227; staging of, viii, 230
_Larum for London, A._ See _A Larum for London_
_Lear, King_, 1, 15, 135, 136, 229; character types in, 148-151, 153; dating of, xi; dramaturgic practice in, 30, 32-35, 38-39, 41-43, 55, 56, 60, 137, 157-158; localization, 73, 220; narrative pattern in, 51, 53; opening action, 34; properties in, 77, 78, 221, 222; stage, use of, 85, 87, 227; staging, 159, 170, 180-181, 198, 200, 205, 208, 210-211
Localization of action, 64-67, 73, 220; through chorus, 68; through identification of stage doors with place, 72-73
_London Prodigal, The_, 1; character type in, 152; dating of, xiii; dramaturgic practice in, 36, 44; property in, 223; staging in, 175, 199, 227
_Macbeth_, 229; dating of, xi; dramaturgic practice in, 32, 38-39, 42, 57, 59; localization, 64-65, 220; narrative pattern in, 49; opening action, 34; premiere of, 23; properties in, 76, 77, 78, 221, 222; stage, use of, 70, 93; staging, 170, 183-185, 187, 192, 203, 206, 209; theme, 61
_Malcontent, The_, 96, 223; dating of, xiv; disguise in, 226
_Measure for Measure_, 15, 136, 229; character types in, 148, 150, 153; dating of, xi; dramaturgic practice in, 32, 36-37, 39, 111, 154, 207; localization, 220; properties in, 78, 221; staging, 170, 175, 179, 184, 187, 194-195, 198, 208, 210-212, 226
_Merry Devil of Edmonton, The_, character types in, 150; dating of, xiii; dramaturgic practice in, 37; properties in, 74, 223, 224; stage, use of, 71; staging, 188, 227
_Merry Wives of Windsor, The_, 135, 136, 229; character types in, 150; dating of, xii; dramaturgic practice in, 38, 45-46, 147; localization, 72, 220; narrative pattern in, 51; premiere of, 23; property in, 222; stage, use of, 89; staging, 171, 186, 190, 208, 210, 212, 227
_Miseries of Enforced Marriage_, dating of, xiii; dramaturgic practice in, 37; properties in, 223, 224; stage, use of, 90-92, 94; staging in, 163-164, 166, 175, 227
Narrative patterns in, episodic form, 48-51; “mirror” form, 51-53; “river” form, 50-51
Opening action in, 34
_Othello_, 136, 229; character types in, 149; dating of, xi; dramaturgic practice in, 32-33, 37-39, 42, 46, 111, 143, 157; localization, 66-67, 73, 220; properties in, 77, 210, 221; spatial illusion in, 161-162; stage, use of, 85-88, 196; staging, 171, 178, 180, 186, 187, 189, 196, 208, 210, 227
_Pericles_, 15, 229; character types in, 153; dating of, xi; dramaturgic practice in, 38; localization, 68, 220; properties in, 75, 81, 221, 222; spatial illusion, 160-162; stage, use of, 70, 85-88, 94; staging, 172, 184, 190, 204, 205, 226-227
Premieres of, 23
Properties in, complete list of, 221-225; introduction of, 75-76; types: bed, 78-79, 82-83, 86; chair, 78, 83; chair for invalid, 77; miscellaneous, 74-75; scaffold, 79-80; sedan chair, 77; state, 78; stools, 77-78, 82-83; table, 76-77; tent, 81, 95; tomb, 70, 81
_Revenger’s Tragedy, The_, 58; dating of, xiii; disguise in, 198, 228; dramaturgic practice in, 44, 56-57; narrative pattern in, 51; properties in, 223, 224, 225
_Satiromastix_, 223; dating of, xiii; properties in, 74
_Sejanus_, 58; dating of, xiii; dramaturgic practice in, 37, 44; narrative pattern in, 49; properties in, 223, 224
Simultaneous setting, 159-160
Spatial illusion in, 160-162, 164
Stage, use of: above, 89-92, 230-231; doors, 70-71; enclosure, 82-88, 185, 194-196, 211-212; heavens, 94; stage posts, 94; trap, 92-93, 201-202
Staging, of asides, 162, 183, 186-192; continuity, 163-164, 175; of disguises, 198-200, 226-228; of entrances, 178-182; of farewell scenes, 204-205; of finales, 208-212; of focus, 172-173; of ghost scenes, 200-204; of greeting scenes, 204; of group scenes, 169-173; of messenger scenes, 205-206; of observation scenes, 183, 193-196; of processions, 172; of soliloquies, 183-186; symmetry, 165-168
Theme in, 60-61
_Thomas Lord Cromwell_, dating of, xiii; dramaturgic practice in, 37, 44; narrative pattern in, 48; properties in, 223, 224; stage, use of, 185; staging, 185, 227
_Timon of Athens_, 229; dating of, xi; dramaturgic practice in, 37, 39; localization, 64, 220; opening action, 34; properties in, 81, 221, 222; stage, use of, 85, 87; staging, 184, 189, 196, 204, 205, 209, 212
_Troilus and Cressida_, 15, 229; character types in, 150; dating of, xi; dramaturgic practice in, 35, 37, 42; localization in, 66-67, 72-73, 220; narrative pattern in, 53; premiere of, 23; properties in, 79, 81, 222, 230; staging, 170, 172, 175, 184, 190-192, 204, 206, 208
_Twelfth Night_, viii, 14, 229; character types in, 149-150; dating of, x; dramaturgic practice in, 36-37, 39, 42, 45, 54-55, 137, 154; exit lines, 107; localization, 72, 220; narrative pattern in, 50-51; premiere of, 23; property in, 222; spatial illusion, 164; stage, use of, 196, 212; staging, 168-169, 173, 196, 198-200, 208, 210-212, 226
_Volpone_, 135; dating of, xiii; disguise in, 228; dramaturgic practice in, 37; properties in, 77, 80, 223, 224, 230; stage, use of, 84, 87
_Yorkshire Tragedy, A_, 1; character type in, 152; dating of, xiii; property in, 77, 223; stage, use of, 86, 89-90
GENERAL INDEX
Above, the, 89-92, 106, 230-231
## Acting, effect of sightlines on, 128-129;
style of, 214
Adams, John C., _The Globe Playhouse_, 22, 65, 69, 71, 89-90, 92, 94, 101-102, 159, 202, 214, 230
Admiral’s men, Lord, 3-6, 9-10, 12-13, 15-18, 20, 95
Admiral-Prince’s men, 4
Aeschylus, 47
Albright, V. E., _The Shakesperian Stage_, 65, 214
Alexander, Peter, _Shakespeare’s Life and Art_, xii
Alleyn, Edward, vii, x, 9, 12, 131
_Annals of the English Drama_ (Harbage), xi, xii
_Antigone_ (Sophocles), 31, 59
_Arcadian Rhetorike, The_ (Fraunce), 114-117, 119
Archer, William, 65
Aristotle, _Poetics_, 29, 31-32, 39, 49, 58
Armin, Robert, 123, 133, 134
_Art of Rhetorique, The_ (T. Wilson), 114-115, 117, 119
_Arte of English Poesie, The_ (Puttenham), 28-29
_As Merry As May Be_, 20
Asides, staging of, 162, 183, 186-192
Bacon, Sir Francis, 120, 140-143, 146
Baldwin, Thomas W., _The Organization and Personnel of the Shakespearean Company_, 22, 128, 133-136; _Shakespeare’s Five-Act Structure_, 26, 29, 40
_Barnardo and Fiametta_, 7, 11
Barnes, Barnabe, xiii, 82, 164. See also _The Devil’s Charter_
_Battle of Alcazar, The_ (Peele), 147, 176-177, 179
Beaumont, Francis, ix
Beds, use of, 78-79, 82-83, 86, 210
Bentley, Gerald E., ix, 14
_Black Book_ (T. M.’s), xiii
Blackfriars Theatre, vii, ix, x, xii, 13-14, 21, 24, 71, 94, 133, 210
_Blind Beggar of Alexandria_, 11
Boas, F. S., xiv
Booth, Edwin, 132
_Bourgeois Gentilhomme, Le_, 112
Boy actors, 134
Bradbrook, Muriel C., _Themes and Conventions of Elizabethan Tragedy_, 26, 30-31, 51, 58
Bright, Timothy, _A Treatise of Melancholie_, 139, 143-144
Brown, John R., 111
_Brute_, 10
Bryan, George, 124
Bulwer, John, _Chirologia_ and _Chironomia_, 114
Burbage, James, vii-viii, 105, 122
Burbage, Richard, x, 1, 4, 18, 96, 123, 133-134, 136
_Cambises_, 121, 125, 127
Campbell, Lily B., _Shakespeare’s Tragic Heroes_, 139, 141
Campbell, Oscar J., xii
Castiglione, Baldassare, _The Courtier_, 117
_Catastrophe_, 26, 39
Cecil, Sir Robert, 18
_Certain Small Workes_ (Daniel), xi
Chairs, use of, 77-78, 83
Chamberlain-King’s men, vii, xiii, 4, 22. _See also_ Chamberlain’s men, Globe company, and King’s men
_Chamberlain’s men, Lord_, viii, xi, xiii, 3-5, 13-14, 18-19, 93, 95, 113, 124, 130. _See also_ Chamberlain-King’s men, Globe company, and King’s men
Chambers, E. K., 65; _The Elizabethan Stage_, xiii, 9, 12, 133, 158, 174, 219; _William Shakespeare_, x-xii
Chapman, George, 25
_Character Problems in Shakespeare’s Plays_ (Schücking), 45, 47
Character types, 148-154
Charles I, King, 21
Charlton House, 167
Charron, Pierre, 143
Children of Paul’s, xiii
Children of the Queen’s Revels, ix, xiv, 3, 96, 133
_Chinon of England_, 11
_Chirologia_ and _Chironomia_ (Bulwer), 114
_Chronicle History of the London Stage, A_ (F. G. Fleay), 13
Cicero, 25
_Cleopatra_ (Daniel), xi
Climactic plateau (climax), 39-44, 55
Coeffeteau, F. N., _A Table of Humane Passions_, 143
Commedia dell’arte, 112-113, 129, 148, 215
Condell, Henry, 96, 123, 133
Cooke, Alexander, 123, 133
Cope, Sir Walter, 18-19
Cornwallis, Sir William, 143
Court, performances at, xi, xiii, 3-4, 15, 19-21, 23, 218-219
_Courtier, The_ (Castiglione), 117
Cowley, Robert, 123, 133-134
_Crack Me This Nutte_, 7, 11
Craig, Hardin, 30; _The Enchanted Glass_, 138-139, 145
Curtain, the, viii, ix
_Cymbeline_, xii, 94
_Cyprian Conqueror, The_, 117
_Damon and Pithias_ (R. Edwardes), 139
Daniel, Samuel, _Cleopatra_, xi
Davenant, William, _The Witts_, 21
Day, John, 20
_Defence of Poesie, The_ (Sidney), 24, 58, 66
Dekker, Thomas, 9; _Fortunatus_, 17, 19-20; _The Gull’s Hornbook_, vii, 97; _The Honest Whore I_, 145. See also _Satiromastix_
Derby’s company, 3
DeWitt, John, 94, 99-101, 169
_Diary_ (Henslowe), 3-5, 8-10, 12-17, 19-22, 217
_Directions for Speech and Style_ (Hoskins), 118
Disguise, staging of, 197-200, 226-228
_Disguises, The_, 6, 11
Doran, Madeleine, _Endeavors of Art_, 27-28, 30
Downer, Alan, 124
Downton, Thomas, 9
_Dramatic Records of Sir Henry Herbert, The_, 13, 21
Dramatic theory, Elizabethan, 24-25
Draper, John W., _The Humors and Shakespeare’s Characters_, 139, 154
Dutton, John, 122
Edmans, John, 134
_Edward I_ (Peele), 6
Edwardes, Richard, _Damon and Pithias_, 139
_Electra_ (Sophocles), 59
Elizabeth, Queen, xii, 18-20, 22, 104
_Elizabethan Acting_ (Joseph), 113-114, 132
_Elizabethan Stage, The_ (E. K. Chambers), xiii, 9, 12, 133, 158, 174, 219
_Elizabethan World Picture, The_ (Tillyard), 139
Elizabeth’s Servants, Lady, 14
Elyot, Sir Thomas, _The Governour_, 116, 119, 141
_Enchanted Glass, The_ (H. Craig), 138-139, 145
Enclosure, the, 74, 82-88, 94, 106, 175, 179, 185, 194-196, 211-212
_Endeavors of Art_ (Doran), 27-28, 30
Episodic pattern, 48-51
_Epitasis_, 26, 40
Essex, Earl of, xii, 130
_Every Man in His Humour_ (Jonson), 93
_Excellent Actor, An_, 129
_Fair Em_, 147
Farewell scenes, staging of, 204-205
_Faustus, Doctor_ (Marlowe), 14, 17
Fergusson, Francis, _The Idea of a Theater_, 29
_First Night of Twelfth Night, The_ (Hotson), x, 23
Fleay, F. G., _A Chronicle History of the London Stage_, 13
Fleetwood, William, 139
Fletcher, John, ix
Fletcher, Laurence, 123, 133
Foakes, R. A., 111, 138, 145
Forest, Louise, 138, 144
Forman, Simon, xii
_Fortunatus_ (Dekker), 17, 19-20
Fortune, the, vii, x, 4, 14, 20, 69, 94, 101-102
_Four PP._ (J. Heywood), 124
Fraunce, Abraham, _The Arcadian Rhetorike_, 114-117, 119
_Friar Bacon & Friar Bungay_ (R. Greene), 18, 20
_From Art to Theatre_ (Kernodle), 102-105, 158, 216
Fuller, Thomas, 122
Gallery over the stage, 95, 98
_Garden of Eloquence, The_ (Peacham), 118-119
Ghost scenes, staging of, 200-204
Gilburne, Samuel, 133-134
Globe company, viii, xii, 14, 16, 23, 35, 134;
## acting style of, 146, 156, 214;
actors of, 122; finances of, 22; organization of, 132, 135; repertory of, 15; role distribution in, 136; shares in, 4. _See also_ Chamberlain-King’s men
Globe playhouse, vii, ix, xii, xiii, 4-5, 13-14, 22-24, 100-101; construction of, viii-ix, 2; design of, vii, 102, 106, 108; opening date of, ix, x, xii, 133; stage of, xiv, 95, 210; sitting on stage of, 96
_Globe Playhouse, The_ (J. C. Adams), 22, 65, 69, 71, 89-90, 92, 94, 101-102, 159, 202, 214, 230
_Globe Restored, The_ (Hodges), 69, 94, 101-102, 158, 230-231
Godfrey, Walter, 101
Goffe, Robert, 123
Gorki, Maxim, _Yegor Bulichev and Others_, 61
Gosson, Stephen, _Playes Confuted in Five Actions_, 122
_Governour, The_ (Elyot), 116, 119, 141
Granville-Barker, Harley, 65, 106; _Prefaces to Shakespeare_, 41
Gray, H. D., x
Greeting scenes, staging of, 204-205
Greg, W. W., 9, 13, 131, 217
Grosse, Samuel, 133-134
_Gull’s Hornbook, The_ (Dekker), vii, 97
Haines, C. M., 176
Harbage, Alfred, 109, 117; _Annals of the English Drama_, xi, xii; _Shakespeare and the Rival Traditions_, ix; _Shakespeare’s Audience_, 22
Hardwick Hall, 167-168
Harper, Sir William, 105
Harvey, Gabriel, x
Hatfield House, 167
Hathway, Richard, 20
Heavens, machinery in the, 93-94, 106
_Hedda Gabler_ (Ibsen), 40, 60
Heminges, John, x, 4, 123, 133
Heminges _vs._ Witter & Ostler, 4
_Henry IV, Part I, King_, 14, 129
_Henry V, King_ (Shakespeare), viii, xi, xii, 68
_Henry V_ (Anonymous), 11
Henry VIII, 104, 165
Henslowe, Philip, vii, x; _Diary_, 3-5, 8-10, 12-17, 19-22, 217; _Papers_, 75, 79, 94-95, 125, 217
Herbert, Sir Henry, _The Dramatic Records of_, 13, 21
Hertford’s men, 4
Heywood, John, 124
Heywood, Thomas, 9, 10
Hilliard, Nicholas, 165
_Histrio-mastix_, 121, 123
Hoby, Thomas, 117
Hodges, C. Walter, _The Globe Restored_, 69, 94, 101-102, 158, 230-231
_Honest Whore I, The_ (Dekker and Middleton), 145
Hope, the, 94, 102
_Horestes_, 121
Hoskins, John, _Directions for Speech and Style_, 118
Hosley, Richard, 73, 82, 84, 89, 92, 99
Hotson, Leslie, xi; _The First Night of Twelfth Night_, x, 23; _Shakespeare’s Motley_, 125; _Shakespeare vs. Shallow_, xii; _Shakespeare’s Wooden O_, 95-97
_Humors and Shakespeare’s Characters, The_ (Draper), 139, 154, 241, 242
Hunter, Sir Mark, 176
_Idea of a Theater, The_ (Fergusson), 29
Income of players, 21-22
_Ion_ (Euripides), 32
_Isle of Dogs, The_, 3, 5
James I, King, x, 15, 20, 22, 104, 133
_Jeronimo, The First Part of_, xiv, 96, 204
_Jew of Malta, The_, 8, 14
_John, King_, 168
Johnson, Samuel, 26, 47
Jones, Inigo, 103
Jonson, Ben, xiii, 3, 9, 17, 21, 25-26, 28, 44, 49, 58, 61, 68-69, 87, 120, 151, 172; _Every Man In His Humour_, 93; _The New Inn_, 26. See also _Every Man Out of His Humour_, _Sejanus_, and _Volpone_
Joseph, Bertram, _Elizabethan Acting_, 113-114, 132
Judge-figure in finale, 36-38, 208
Katherens, Gilbert, 105
Keen, Frances, 23
Kemp, Will, viii, xii, 135-136
Kernodle, George R., _From Art to Theatre_, 102-105, 158, 216
King’s men, ix, x, xiii, xiv, 13-14, 21, 24, 94, 133-134. _See also_ Chamberlain-King’s men, Chamberlain’s men, and Globe company
Kittredge, G. L., xi, xii, 195, 230
_Knack to Know an Honest Man, A_, 147
Knight, G. Wilson, _Principles of Shakespearean Production_, 39-40; _Wheel of Fire_, 58, 61
Kreider, Paul, _Repetition in Shakespeare’s Plays_, 197
Kyd, Thomas, 15, 48, 92
“Law of reentry,” 176
Lawrence, W. J., 40, 71, 201
Leicester’s company, 122
_Leir, King_, 151
Localization of action, 64-68, 72-73, 220
_Longshank_, 6, 11
Lord Mayor’s Show, 103-105
_Love’s Labour’s Lost_, 18
_Love’s Labour’s Won_, xi
Lowin, J., 96-97, 123, 133, 134-135
Lucas, F. L., 45
McManaway, J. G., xii
Malone, Edmond, 13, 21, 75
Manly, John M., 30
Mansions, use of, 95
Marivaux, Pierre, 112-113
Marlowe, Christopher, 15, 92, 124; _Doctor Faustus_, 14, 17; _The Jew of Malta_, 8, 14; _Tamberlaine_, 6, 7, 14
Marston, John, xiv, 96. See also _The Malcontent_
Merchant Tailors Company, 105
Meres, Francis, _Palladis Tamia_, x, xi, xii
_Messalina_ title page, 98-99
Messenger scenes, staging of, 205-206
Middleton, Thomas, 20; _The Honest Whore I_, 145
_Midsummer Night’s Dream, A_, 130
Mildmay, Sir Humphrey, 21
Mirror, image of art as a, 27-29, 59
Mirror pattern, 51-53
Molière, 21, 112, 136
Moscow Art Theatre, 112, 132
Moulton, R. G., _Shakespeare as a Dramatic Artist_, 40, 41
_Much Ado About Nothing_, xi-xii, 136, 150, 153
Nagler, Alois, _Shakespeare’s Stage_, 96, 99
Nashe, Thomas, 3
Newington Butts, 5, 13, 18
_New Inn, The_ (Jonson), 26
New plays, introduction of, 9, 11-13
_New World’s Tragedy, A_, 11
_Northern Lass, The_, 21
Observation scenes, staging of, 183, 193-197
_Oedipus_ (Sophocles), 31
_On Producing Shakespeare_ (Watkins), 163-164, 175, 214
_Oresteia_ (Aeschylus), 47
_Organization and Personnel of the Shakespearean Company, The_ (Baldwin), 22, 128, 133-136
_Orlando Furioso_ (Greene), 131-132, 147
Orsino, Virginio, Duke of Bracciano, 23, 96
Ostler, William, 133
_Palladis Tamia_ (F. Meres), x-xii
Palsgrave’s company, 14
_Papers_ (Henslowe), 75, 79, 94-95, 125, 217
Peacham, Henry, _Garden of Eloquence, The_, 118, 119
Peele, George, _The Battle of Alcazar_, 147, 176, 179; _Edward I_, 6
Pembroke’s men, 3
_Peripeteia_, 32
_Phaethon_, 18, 20, 79
Phillips, Augustine, 4, 123, 130, 133
_Philoctetes_ (Sophocles), 31
Platter, Thomas, x, 14, 97
Plautus, 25, 48
_Playes Confuted in Five Actions_ (Gosson), 122
_Plays and Masques at Court_ (Steele), 219
Plutarch, 74, 214
Poel, William, 214
_Poetaster_ (Jonson), xiii
_Poetics_ (Aristotle), 29, 31-32, 39, 49, 58
_Polyphemus_, 10
Pope, Thomas, 4, 123-124, 133
_Prefaces to Shakespeare_ (Granville-Barker), 41
Prince’s men, 14
_Principles of Art History_ (Wölfflin), 27
_Principles of Shakespearean Production_ (Knight), 39-40
Privy Council, 3, 5, 19
_Promos and Cassandra_ (Whetstone), 139
Properties, stage, 74-82, 158-174 _passim_, 221-225
Puttenham, George, _The Arte of English Poesie_, 28-29
_Pythagoras_, 11
Queen of Bohemia’s company, 14
Queen’s men, 121, 122
Ramus, P., 114, 119
Ranking-figure, 38, 210, 212
Red Bull, the, 4, 92, 95, 158
_Repetition in Shakespeare’s Plays_ (Kreider), 197
Resolving figure, 211-212
_Return from Parnassus, II, The_, 136
Revivals, system of, 8, 17-18
Reynolds, George F., 63, 65, 72-73, 175, 214, 216; _The Staging of Elizabethan Plays at the Red Bull_, 92, 95, 158, 174
Rich, John, 134
_Richard II, King_, 14, 130
_Richard III, King_, 61, 136, 158, 165, 168
River pattern, 48, 50-51
_Romeo and Juliet_, viii
Rose, the, 5-7, 22
_Roxana_ title page, 97-99, 180
Royal entries, 103-104
Sands, James, 134
Scaffolds on stage, 79-80, 82
Schücking, L. L., _Character Problems in Shakespeare’s Plays_, 45, 47
_Seleo and Olempo_, 7
_Selimus_, 126, 147
Seneca, 48
_Seven Days of the Week_, 6, 11
_Seven Deadly Sins_, 123,133
Shakespeare (?), Ned, 134
_Shakespeare and the Audience_ (Sprague), 186
_Shakespeare and the Nature of Man_ (Spencer), 139
_Shakespeare and the Rival Traditions_ (Harbage), ix
_Shakespeare as a Dramatic Artist_ (Moulton), 40, 41
_Shakespeare’s Audience_ (Harbage), 22
_Shakespeare’s Five-Act Structure_ (Baldwin), 26, 29, 40
_Shakespeare’s Life and Art_ (Alexander), xii
_Shakespeare’s Motley_ (Hotson), 125
_Shakespeare’s Stage_ (Nagler), 96, 99
_Shakespeare Studies_ (Stoll), 58
_Shakespeare’s Theater_ (Thorndike), 66, 175
_Shakespeare’s Tragic Heroes_ (L. B. Campbell), 139, 141
_Shakespeare’s Wooden O_ (Hotson), 95-97
_Shakespeare vs. Shallow_ (Hotson), xii
_Shakesperian Stage, The_ (Albright), 65, 214
Sidney, Sir Philip, _The Defence of Poesie_, 24, 58, 66
Simultaneous setting, 158-160, 164
_Sir Clyomon and Sir Clamydes_, 121, 125-126
_Sir Thomas More_, 121
Sly, William, 96-97, 123, 133, 135
Smith, Irwin, 73
Smith, Warren, 79-80, 186, 230
Smith, Wentworth, 20
Soliloquies, staging of, 183-186
Southern, Richard, 84, 101
_Spanish Tragedy, The_ (Kyd), 14, 17
Spencer, Theodore, _Shakespeare and the Nature of Man_, 139
Sprague, A. C., _Shakespeare and the Audience_, 186
Stage doors, use of, 70-71
_Staging of Elizabethan Plays at the Red Bull, The_ (Reynolds), 92, 95, 158, 174
Stanislavsky, C., 215
Steele, Mary S., _Plays and Masques at Court_, 219
Stoll, Elmer E., _Shakespeare Studies_, 58
Stools, use of, 77-78
_Strange News Out of Poland_, 9
Strange’s men, 17
_Streetcar Named Desire, A_ (Williams), 60, 149
Streete, Peter, ix, x, 105
Swan drawing, 72, 94, 97-102, 169
Symbolism in staging, 216
_Tableaux vivants_, 102-103
_Table of Humane Passions, A_ (Coeffeteau), 143
Tables, use of, 76-77, 82-83
Talaeus, Audomarus, 119
_Tambercame II_, 18
_Tamberlaine, I & II_ (Marlowe), 6-7, 14
Tarleton, Richard, 122, 123
Tents, use of, 81
Terence, 26, 40, 48
Theatre, the, vii-ix, 71, 128
Théâtre-Libre, the, 112
_Themes and Conventions of Elizabethan Tragedy_ (Bradbrook), 26, 30-31, 51, 58
_Thome Strowd, II_, 10
Thorndike, Ashley, _Shakespeare’s Theater_, 66, 175
_Three Ladies of London_ (R. Wilson), 147
_Three Lords and Three Ladies of London, The_ (R. Wilson), 147
Tillyard, E. M. W., _The Elizabethan World Picture_, 139
_Titus Andronicus_, viii
Tooley, Nicholas, 123, 133
Tourneur, Cyril, xiii
_Toy to Please Chaste Ladies, A_, 6-8, 11
Traps, use of, 92-93, 106, 201-202
_Treatise of Melancholie, A_ (Bright), 139, 143-144
_Troublesome Reign of King John, The_, 147
_True Tragedy of King Richard III, The_, 126
_Two Angry Women of Abington, II_ (Porter), 10
Underwood, John, 133
Van Buchell, Arend, 100
Walker, Albert, 125, 153-154
_Warning for Fair Women, A_, 81, 94, 147, 200, 203
Watkins, Ronald, _On Producing Shakespeare_, 163-164, 175, 214
Watson, C. B., 37
_Weather, The_ (J. Heywood), 124
Webster, John, xiv, 45, 96. See also _The Malcontent_
_Wheel of Fire_ (Knight), 58, 61
Whetstone, George, _Promos and Cassandra_, 139
Whitehall Palace, x, 96
Wilkins, George, xiii. See also _Miseries of Enforced Marriage_
_William Shakespeare_ (E. K. Chambers), x-xii
Wilson, J. Dover, x
Wilson, Jack, 134
Wilson, Robert, 122, 123; _Three Ladies of London_ and _The Three Lords and Three Ladies of London_, 147
Wilson, Thomas, _The Art of Rhetorique_, 114-115, 117, 119
_Winter’s Tale, The_, 15
_Wits, The_, 98, 180
_Witts, The_ (Davenant), 21
Wölfflin, Heinrich, _Principles of Art History_, 27
Wollaton Hall, 167-168
_Woman Killed with Kindness, A_ (T. Heywood), 10
_Woman of Andros_ (Terence), 26
_Wonder of a Woman_, 7, 11
Worcester-Queen’s men, 4
Worcester’s men, 3-4, 10, 12-13, 16, 133
Worde, Wynken de, 104
_Yegor Bulichev and Others_ (Gorki), 61
TRANSCRIBER’S NOTE
The table at the start of Appendix C was very wide in the original book. It has been modified by splitting each row into two rows, each one less than 75 characters wide.
Obvious typographical errors and punctuation errors have been corrected after careful comparison with other occurrences within the text and consultation of external sources.
Except for those changes noted below, all misspellings in the text, and inconsistent or archaic usage, have been retained.
Pg 112: ‘a Francatrippa’ replaced by ‘a Franca Trippa’. Pg 152: ‘[Sig. El^r]’ replaced by ‘[Sig. E1^r]’. Pg 217: ‘[22]’ replaced by ‘(22)’ to avoid confusion with the footnote notation. Pg 243: ‘written to that’ replaced by ‘written so that’. Pg 246: ‘staging of V, iii,’ replaced by ‘staging of, viii,’. Pg 247: ‘focus 172-173;’ replaced by ‘of focus 172-173;’.