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Shakespeare at the Globe, 1599-1609

Chapter 34: APPENDIX C
By Bernard Beckerman
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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.


APPENDIX C

i. Disguise

Play(l) Character
Dress Manner Voice   Face  
As You Like It Rosalind
II, iv, 4-8 I, iii, 122-124
III, ii, 313-315
Twelfth Night Viola
I, iv, s.d. I, V, 177-236 I, iv, 29-34
Twelfth Night Feste
IV, ii, 1 IV, ii, 22-23 IV, ii, 71-72 IV, ii, 2
Measure for Measure Duke
I, iii, 45-48 I, iii, 45-48
II, iii, 1-42
Coriolanus Coriolanus
IV, iv, s.d.
IV, v, 59 ff.
Pericles Pericles
II, ii, 48-52
Pericles Thaisa(m)
V, iii, 13-15
Julius Caesar Lucilius(n)
Merry Wives of Windsor Ford(o)
II, ii (?)
Merry Wives of Windsor Falstaff
IV, ii, 190 ff.
Merry Wives of Windsor Children, Evans
V, iv, 49-52
V, v
Othello Roderigo
I, iii, 346(?)
King Lear Kent
I, iv, 1-4 II, ii, 1-180 I, iv, 1 f.
King Lear Edgar (Poor Tom)
II, iii, 10 II, iii, 9-20 II, iii, 14-20 II, iii, 9(?)
III, iv, 66 III, iv
King Lear Edgar (Peasant)
IV, i, 40-44 IV, vi IV, vi, 7 f., 45 ff.
King Lear Edgar (Cornishman)
IV, vi, 235-251
King Lear Edgar (Champion)
V, iii, 117, 142
Devil’s Charter Candie, Caesar
F3v
Merry Devil of Edmonton Raymond as Friar
D2r
London Prodigal Old Flowerdale
A2r A2r G4r 18-20
London Prodigal Luce
F1v F1v F1v
Cromwell Hodge, Bedford
C4v 26-D1v 27 C4v 26-D1v 27
Miseries of Enforced Marriage John, Thomas
Fair Maid of Bristow Harbart
B1v 28-2v 16 B1v 28-2v 16
Fair Maid of Bristow Challener
B1v
Fair Maid of Bristow Sentloe
E3r 20 E3r-v
Fair Maid of Bristow Anabell
E4v (?)
Volpone Volpone (Scoto)
II, iv II, iv, 30-36
Volpone Volpone (sick)
I, iii-v
III, iii-v, vii, ix
IV, vi
Volpone Volpone (Commandant)
V, iii
Volpone Peregrine
V, iv, 1
Revenger’s Tragedy Vindice
I, i I, i

(l) The Malcontent is not included in this list although its plot is based completely upon a disguise. In this play the basic disguise is manner (see I, i). Malevole and Celso converse about the former’s loss of his dukedom (213-255). On the entrance of Bilioso, however, “Malevole shifteth his speech,” that is, he adopts his satiric manner. This treatment of disguise is similar to that in The Revenger’s Tragedy.

(m) Time here helps to disguise Thaisa.

(n) Lucilius claims to be Brutus, but he is immediately recognized.

(o) Ford may have a change of clothing, particularly considering that Falstaff sees him at his house in IV, ii, and Ford visits him again in V, i.