Shakespeare and the Multiple Theatres of Jacobean London



In venturing on a topic to which these conferences have contributed so much, I would wish to emphasize a shift in general approach, seeking to relate both the archaeological and the purely thematic or literary approaches by considering primarily the audience structure of the Jacobean theatre. In spite of the large enterprises of G. E. Bentley and Glynne Wickham, reinterpretation proceeds sporadically from a wide range of studies in other fields—the political, the iconographical, and the philosophical, still sometimes divorced from theatrical considerations.


Multiple Theatre Classical Deity Private Theatre Jacobean Theatre Popular Success 
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  1. 1.
    Alan H. Nelson, The Medieval English Stage (Chicago, 1974), argues that in one case at least craft performances did not take place on the wagons, but only in the guild-hall.Google Scholar
  2. 2.
    Herbert Berry, “The Playhouse in the Boar’s Head Inn, Whitechapel”, David Galloway (ed.), The Elizabethan Theatre I (Toronto, 1969 )Google Scholar
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  6. 3.
    See G. E. Bentley, The Jacobean and Caroline Stage, Vol. VS (Oxford, 1968 ), p. 243.Google Scholar
  7. 4.
    See Kenneth Dodd, “Another Elizabethan Theatre in the Round”, Shakespeare Quarterly, Vol. XXI (Spring, 1970 ).Google Scholar
  8. 5.
    Thomas Hughes, Prologue to The Misfortunes of Arthur (1587).Google Scholar
  9. 6.
    Glynne Wickham, “From Tragedy to Tragicomedy: King Lear as Prologue”, Shakespeare Survey 26 (1973)Google Scholar
  10. Glynne Wickham, “The Winter’s Tale A Comedy with Deaths”, in Glynne Wickham, Shakespeare’s Dramatic Heritage (London, 1969)Google Scholar
  11. 7.
    See L. G. Salingar, “Les comédiens et leur public en Angleterre de 1520 1640”, Jean Jacquot (ed.), Dramaturgie et société (Paris, 1968), Vol. 2.Google Scholar
  12. 8.
    D. J. Gordon, “The Imagery of Ben Jonson’s The Masque of Blacknesse and The Masque of Beautie” and “Hymenaei: Jonson’s Masque of Union”, Journal of the Warburg and Courtauld Institutes, Vol. VI (1943) and Vol. VIN (1949).Google Scholar
  13. 9.
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  14. 10.
    See Anne Righter (Barton), Shakespeare and the Idea of the Play (London, 1962).Google Scholar
  15. 11.
    Joel Hurstfield, “The Politics of Corruption in Shakespeare’s England”, Shakespeare Survey 28 (1975).Google Scholar
  16. 12.
    See Inga-Stina Ewbank, “‘These Pretty Devices’: A Study of Masques in Plays”, T. J. B. Spencer and Stanley Wells (eds.), A Book of Masques: In Honour ofAllardyce Nicoll (Cambridge, 1967 ).Google Scholar
  17. 14.
    M. C. Bradbrook, “The Comedy of Timon”, Renaissance Drama (1966).Google Scholar
  18. 17.
    See the concluding chapter in the new edition of M. C. Bradbrook, The Growth and Structure of Elizabethan Comedy (London, 1973 ).Google Scholar
  19. 19.
    T. S. Eliot, The Use of Poetry and the Use of Criticism (Cambridge, Mass., 1933 ), pp. 144, 146 (he is speaking of Coleridge’s “Kubla Khan”).Google Scholar

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© Palgrave Macmillan, a division of Macmillan Publishers Limited 1978

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