The Elizabethan Stage, Vol. 4

A

• Abergavenny’s men, ii. 92.
• ‘Above’, iii. 91–8, 115, 133, 153.
• Abridgement of plays, iii. 186, 251.
• Academic plays, lists of, i. 127–31; iv. 273–9;
• staging of, i. 226;
• critics of, i. 249.
• Accession day, i. 18, 128, 141–8; iii. 212, 402, 405–6, 463; iv. 85, 375.
• Accidents at performances, i. 128, 228, 256, 264, 283, 290; ii. 135, 175, 462; iii. 311; iv. 208, 219, 225, 274, 292–5.
• Activities, i. 123, 282, 300; ii. 99, 101, 110, 111, 118–19, 136, 182, 261–3, 272, 292, 294, 413, 529, 550; iv. 97, 98, 99, 101, 102, 103, 104, 105, 112, 114, 154, 156, 158, 159, 161, 162, 163, 167, 174, 205, 206, 217, 273, 279, 283.
• Actors. See Players.
• Acts, iii. 124, 130, 199.
• Admiral, lord, i. 67.
• Admiral’s men, ii. 134–86.
• Adult companies, list of, ii. 77.
• ‘Alcove’, iii. 82, 111, 120.
• Allowances. See Licences.
• Almonry, i. 35;
• boys of, ii. 9, 70.
• Alphabetical figures in masks, i. 198; iii. 378, 383.
• ‘Alternationist’ theory of staging, iii. 120.
• Amalgamation of companies, i. 355; ii. 17, 94, 95, 112, 113, 120, 124, 129, 132, 136, 140, 155, 192–3, 225, 244, 248, 258; iii. 343–4.
• Amanuensis to playwright, iii. 368.
• Ambassadors, i. 22–5, 204; iii. 241, 243, 246, 277, 280, 283, 376, 380, 382, 384, 385, 386, 389, 390; iv. 63, 77, 79, 81, 84, 87, 96, 98, 100, 118, 119, 120.
• Animals on stage, i. 372; iii. 75.
• Anne, warrant to players from, ii. 234.
• ‘Antemasque’, i. 194; iii. 261, 281; iv. 59.
• ‘Antick’ dance, iii. 385.
• ‘Antick’ play, iii. 502; iv. 101, 159.
• ‘Anticke-maske’, i. 194; iii. 244; iv. 59.
• Antimask, i. 193; iii. 381, 383, 385, 386.
• Apparel of players, i. 348, 352, 358, 362, 371, 372; ii. 131, 168, 184, 215, 228, 243, 245, 248, 254, 256; iv. 199, 204, 217, 237, 240, 241, 304.
• ‘Apparelling’ charges, i. 63.
• Apprentices, plays by, iii. 493, 496.
• Apprentices to players, i. 371; ii. 154, 212.
• Arbori, iv. 362.
• ‘Arbours’, iii. 55, 89.
• Archery, i. 139, 290.
• Armada day, i. 22.
• Armoury, office of, i. 49; iii. 399.
• Arms of players, i. 350; ii. 98, 305, 333.
• ‘Arras’, iii. 80, 111, 133; iv. 367.
• Arthur and Round Table show, i. 139; iv. 102.
• Articles of players, i. 352, 364–5, 379; ii. 45, 65, 241, 245, 247, 254–5.
• Arundel’s men, ii. 116.
• Assaults in masks, i. 151, 154, 191.
• ‘Assembled’ texts of plays, iii. 185, 194.
• Associations of players, i. 352; ii. 3.
• Atmospheric phenomena on stage, iii. 76, 110.
• Attacks on plays. See Ethics.
• Attendants in playhouses, i. 371; ii. 150, 187, 541.
• Audit, i. 58–62; iv. 131.
• Auditorium. See Court plays, Playhouses.
• Augmentations, court of, i. 60.
• Aulaeum, iii. 11.
• ‘Ave, Caesar’, iv. 10.

B

• Baboons, iii. 215, 234, 261, 369; iv. 11, 16, 254.
• Back cloths, iii. 129.
• Badges of players, i. 311, 382; ii. 81, 91.
• Ballet in France, i. 176.
• Banqueting houses, i. 15–17, 74, 80, 84, 90, 116, 157, 202, 216; iii. 401.
• Banquets after masks, i. 206; iii. 235, 280, 283, 376.
• Barbaturiae, i. 152, 192.
• Barriers, i. 19, 140; iii. 378, 385, 393; iv. 57, 64, 77, 86, 87, 96, 98, 109, 114, 120, 124;
• in play, i. 232;
• in show, iii. 501.
• Battle scenes, iii. 52, 106.
• Battlements in court plays, i. 231; iii. 44, 91.
• ‘Beam’ on Paul’s stage, iii. 136.
• Bear-baiting, ii. 375, 449–71;
• days for, i. 316; ii. 257, 471; iv. 307.
• See Blind Bear.
• Beargardens, ii. 376–9, 449–72.
• ‘Beards’, ii. 105.
• ‘Bears’ in masks, iii. 385, 388;
• in plays, iv. 35.
• Bears, names of, ii. 457.
• Bed Chamber, i. 14, 53.
• Bed ‘thrust out’, iii. 113.
• ‘Bed-curtains’, iii. 86, 112.
• Bel Savage playhouse, ii. 382.
• Bell playhouse, ii. 381.
• ‘Benefits’, i. 370, 373; ii. 172.
• Berkeley’s men, ii. 103.
• ‘Bills’, ii. 113, 514, 547; iii. 373, 501; iv. 199, 205, 228, 267, 283, 289, 303.
• Birthday of sovereign, i. 20.
• Black stages, iii. 79.
• Blackfriars, children of, ii. 53–5.
• Blackfriars playhouse (1576), ii. 495–7.
• Blackfriars playhouse (1596), ii. 503–15.
• Blind bear, whipping of, ii. 456–8, 469.
• Board and cord game, i. 123.
• Boar’s Head playhouse, ii. 443–5.
• Bonds of players, i. 352; ii. 131, 224.
• ‘Bookholders’, ii. 540; iv. 404.
• ‘Books’, as stock of players, i. 372; ii. 65, 161, 168; iii. 193;
• used by prompter, i. 227; ii. 540;
• provided for court audience, i. 227; ii. 72; iv. 378;
• describing masks, i. 207; ii. 264; iii. 278, 281, 382;
• describing tilt, i. 145.
• See Original, Play-texts.
• Books hawked in playhouses, ii. 549.
• ‘Bouche of court’, i. 51.
• ‘Boxes’, ii. 531, 555; iii. 496.
• ‘Boxholders’, i. 356; ii. 187, 388, 514, 532; iv. 228.
• Boy bishop, ii. 11.
• Boy companies, ii. 8–76, 88, 100–1, 119;
• list of, ii. 8;
• organization of, i. 378, 386; ii. 47;
• staging for, iii. 130–54.
• Boys in women’s clothes, i. 248, 251, 254, 262, 362, 371; iii. 373; iv. 217, 249, 252, 256, 258.
• Brandenburg, players at court of, ii. 288–92.
• Brawls, i. 198; iii. 239.
• Bride ale, i. 123.
• Bristol, children of Chamber of, ii. 68.
• Brunswick-Wolfenbüttel, players at court of, ii. 275–7.
• Bull playhouse, ii. 380.
• Bull-baiting, ii. 449, 454–8.
• Bullettini (tickets), iii. 496.
• Burning of playhouses, ii. 419, 442.
• ‘By’ progresses, i. 20, 120.

C

• Calciatura, i. 51.
• Calvinism and plays, i. 245.
• Camera regis, i. 54.
• Camerarii, i. 36.
• Camp scenes, iii. 53, 106.
• Candelieri, iv. 364.
• Candlemas, i. 20, 213.
• ‘Canopy’, ii. 557; iii. 138, 141, 142, 148.
• Capitalism and profit-sharing, i. 360–8; ii. 248–50.
• Captain of Guard, i. 47.
• Cards in playhouse, ii. 549; iv. 368.
• Cart-takers, i. 117.
• Casamenti (houses), iii. 5; iv. 355, 356, 359, 360.
• Case (houses), iii. 3–12.
• ‘Castles’, i. 11.
• ‘Casts’, number of players required for, i. 332; iii. 179, 317, 437, 470, 504, 505, 517; iv. 7, 13, 20, 21, 37, 51;
• players’ names in, iii. 510.
• Censorship, i. 224, 239, 240, 246, 249, 266, 271, 275, 282, 283, 288, 289, 295, 303, 318–22; iii. 158–77, 191, 365, 367; iv. 2, 6, 32, 35, 45, 261, 263, 264, 269, 271, 274, 288, 306.
• See Licences, Master of Revels, Play-texts, Restraints, Satire, Sedition.
• Ceremonies, Master of, i. 53.
• Challenges for tilt, i. 142.
• Chamber accounts, i. 58–66; iv. 132–5, 140, 142–83 (extracts).
• Chamber as organ of administration, i. 56.
• Chamber officers, i. 42–7.
• Chamber scenes, iii. 65, 94, 111.
• Chamberers, i. 44.
• Chamberlain, Great, i. 32.
• Chamberlain of Household, Lord, i. 36–41, 48, 50, 66, 67, 100, 108, 205, 209, 218, 224, 226;
• of Queen Anne’s household, ii. 237.
• Chamberlain’s men, ii. 92–3, 134–5, 193–208.
• ‘Chameleon’ players, i. 340, 376, 378, 383; ii. 3, 98; iii. 325.
• Chancellor, Lord, iv. 67.
• Chancery, i. 31, 55.
• Chapel, children of, ii. 23–48, 50, 52, 59, 60.
• Chapel Royal, i. 14, 48; ii. 24; iv. 352;
• plays in, ii. 35.
• ‘Cheques’ for tilt, iv. 64.
• Children, of Blackfriars, ii. 53–5;
• Chamber of Bristol, ii. 68;
• Chapel, ii. 23–48, 50, 52, 59, 60;
• Eton, ii. 73;
• King’s Revels, ii. 64–8;
• Merchant Taylors, ii. 75;
• Paul’s, ii. 8–23;
• Queen’s Revels, ii. 48–51, 56–61;
• Revels, ii. 51;
• Revels to Queen Anne (1623), iii. 474; iv. 43;
• Westminster, ii. 69–73;
• Whitefriars, ii. 55;
• Windsor, ii. 61–4.
• Children of the Chapel Stript and Whipt, i. 278; ii. 34.
• ‘Christian Terence’, i. 239; iii. 12, 321.
• Christmas, i. 19, 213; ii. 24, 71, 74; iv. 237.
• Christmas Prince, iv. 71.
• Churches, plays in, i. 336; ii. 35;
• advertised in, iv. 210.
• ‘Cities’ in court plays, i. 231; iii. 44.
• Civic receptions, i. 126, 131.
• Claque, ii. 549.
• Clerk of Market, i. 116.
• Clerk of Revels and Tents, i. 73, 83, 94.
• Clerk Comptroller of Revels and Tents, i. 73, 94.
• ‘Clerk plays’ ii. 265.
• Clinton’s men, ii. 96.
• ‘Close walk’, iii. 56.
• Closet, i. 14, 48.
• ‘Closet’ plays, iii. 19, 208, 236, 247, 275, 321, 330.
• Clowns, ii. 152, 334.
• Cockmaster, i. 53.
• Cockpit at court, i. 8;
• as playhouse, i. 216, 234.
• Cockpit, Drury Lane, playhouse, ii. 238, 240, 302, 372; iv. 15.
• Coffer Chamber, i. 45.
• Cofferer of Household, i. 35, 50, 115; iv. 134.
• Comedie, iv. 358–60.
• Comedy, definitions of, i. 238, 239, 257.
• Comitas, i. 250.
• Commedia dell’ arte, ii. 262–3, 553; iii. 13.
• Commedia sostenuta, ii. 264; iii. 11, 13.
• Commissions, to take up boys, ii. 17, 24, 27, 31, 33, 41, 43, 50, 52, 62, 64;
• for Revels office, i. 84, 89.
• ‘Commoning’ in mask, i. 153, 197.
• Competition of companies, i. 386; ii. 7, 367.
• ‘Compositions’ of players, i. 352; ii. 174, 191, 237.
• Comptroller of Household, i. 35, 55, 67.
• Continent, players on, i. 342–7; ii. 271–94.
• Contracts for playhouses, ii. 436, 466;
• with players, ii. 151–5.
• Conversion of players abroad, ii. 290.
• Copper lace, i. 208; ii. 184; iv. 367.
• ‘Copy’ for printed plays, iii. 193, 432.
• Copyright, iii. 159, 172–7, 186–91, 395; iv. 48.
• Corantos, i. 198; iii. 234, 239, 241, 278, 280, 282, 375, 378, 380, 383, 385, 390, 435; iv. 57, 59, 115.
• ‘Coronation’ Day. See Accession day.
• Coronations, i. 131–4; ii. 29; iii. 392; iv. 60, 69.
• Corrector of press, iv. 40.
• ‘Correctors’ of books, iii. 165, 167, 192.
• Council Chamber, i. 14.
• ‘Counting-house’, iii. 69.
• Court plays, i. 213–19, 223–34;
• statistics of, ii. 3–8;
• seasons for, i. 213;
• rooms for, i. 216;
• rewards for, i. 217;
• Revels officers at, i. 223;
• lighting of, i. 225;
• auditorium for, i. 226;
• staging of, i. 229; iii. 1–46.
• See Auditorium, Battlements, Cities, Domus, Front Curtains, Maisons, Payments, Perspective, Rehearsals, Senate houses, State, Walls.
• Courtyard scenes, iii. 61.
• Cressets, ii. 543.
• Cross Keys playhouse, ii. 383.
• ‘Cues’, ii. 541; iv. 367.
• Curia regis, i. 30, 54, 66.
• Curtain playhouse, ii. 400–4.
• Curtains, iii. 78, 81, 111;
• on court stage, i. 231; iii. 21, 30, 33, 35, 44, 46;
• in masks, i. 181.
• See Arras, Aulaeum, Bed curtains, Black, Discoveries, Front curtains, Hangings, Sinking, Traverse, Veil.
• Cutpurses in playhouses, i. 264, 283, 304, 317; ii. 403, 441, 447, 545;
• at court, iii. 376–7, 387.