My debts of gratitude, which this acknowledgment can hardly hope to pay, are especially due to Professors Oscar J. Campbell, S. F. Johnson, and Dr. John Cranford Adams, President of Hofstra College. To detail the extent of Professor Campbell’s assistance would be futile. I merely count myself fortunate in having enjoyed his guidance and encouragement. From Professor Johnson this study received a careful and perceptive scrutiny, to the excellence of which I trust these pages testify. In supporting my work as Director of the Hofstra College Shakespeare Festival, Dr. Adams provided me with the opportunity not only to explore the authentic staging of Shakespeare’s plays but also to draw upon his knowledge and advice. Although my present views of Shakespearean staging differ from his, nonetheless they owe much to the initial stimulus he gave and the rigorous scholarship he exemplified. In addition, I have benefited from the indulgence of various friends and scholars. Dr. Raymond W. Short read and criticized the original draft of the chapter on dramaturgy. Dr. James G. McManaway and Irwin Smith offered valuable suggestions for the entire manuscript, and Mr. Smith, together with Dr. Robert De Maria, Howard Siegman, and my wife, Gloria, has assisted me in the final preparation of the book.
About This Book
This study analyzes a leading London playhouse during a pivotal decade, arguing that its architecture, financing, and company organization shaped both repertory and dramatic practice. It surveys the company’s repertoire and offers a systematic account of dramaturgy, treating scene structure, climaxes, finales, and broader narrative patterns. A detailed examination of the stage considers localization, spatial design, and the parts of the playing area, while chapters on acting explore rhetorical traditions, theatrical inheritance, playing conditions, and conceptions of human behavior such as decorum, motivation, and passion. Practical staging issues—illusion, grouping, entrances, recurring stage patterns—and the resulting stylistic effects receive focused attention.