Playing and Playgoing in Early Modern England - Title page

pp iii-iii

Copyright page

pp iv-iv

Contents

pp v-vi

Illustrations

pp vii-vii

Notes on Contributors

pp viii-xi

Acknowledgements

pp xii-xii

A Note on the Text

pp xiii-xiv

Introduction

pp 1-12

Part I - Players

pp 13-98

Chapter 1 - Shakespeare’s Motists

pp 18-36

Chapter 2 - ‘Thou Look’st Pale’: Narrating Blanching and Blushing on the Early Modern Stage

pp 37-56

Chapter 3 - Emotions, Gesture, and Race in the Early Modern Playhouse

pp 57-76

Chapter 4 - The Girl Player, the Virgin Mary, and Romeo and Juliet

pp 77-98

Part II - Playgoers

pp 99-180

Chapter 5 - Playgoing, Apprenticeship, and Profit: Francis Quicksilver, Goldsmith, and Richard Meighen, Stationer

pp 104-121

Chapter 6 - Rethinking Early Modern Playgoing, Pleasure, and Judgement

pp 122-141

Chapter 7 - ‘Art Hath an Enemie Cal’d Ignorance’: The Prodigal Industry of Early Modern Playwrighting

pp 142-160

Chapter 8 - Early Modern Drama Out of Order: Chronology, Originality, and Audience Expectations

pp 161-180

Part III - Playhouses

pp 181-261

Chapter 9 - ‘Theatre’ and ‘Play+House’: Naming Spaces in the Time of Shakespeare

pp 186-204

Chapter 10 - ‘[T]hough Ram Alley Stinks with Cooks and Ale / Yet Say There’s Many a Worthy Lawyer’s Chamber / Butts upon Ram Alley’: An Innsman Goes to the Playhouse

pp 205-222

Chapter 11 - Playing with the Audience in Othello

pp 223-241

Chapter 12 - ‘All Their Minds Transfigured So Together’: The Imagination at the Elizabethan Playhouse

pp 242-261

Bibliography

pp 262-276

Index

pp 277-292