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
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