Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-cd9895bd7-8ctnn Total loading time: 0 Render date: 2024-12-25T15:05:51.940Z Has data issue: false hasContentIssue false
Series:   Elements in Shakespeare Performance

Approaching the Interval in the Early Modern Theatre

The Significance of the 'Act-Time'

Published online by Cambridge University Press:  12 April 2024

Mark Hutchings
Mark Hutchings
Affiliation:
Universidad de Salamanca, Spain

Summary

In requiring artificial light, the early modern indoor theatre had to interrupt the action so that the candles could be attended to, if necessary. The origin of the five-act, four-interval play was not classical drama but candle technology. This Element explores the implications of this aspect of playmaking. Drawing on evidence in surviving texts it explores how the interval affected composition and stagecraft, how it provided opportunities for stage-sitters, and how amphitheatre plays were converted for indoor performance (and vice versa). Recovering the interval yields new insights into familiar texts and brings into the foreground interesting examples of how the interval functioned in lesser-known plays. This Element concludes with a discussion of how this aspect of theatre might feed into the debate over the King's Men's repertory management in its Globe-Blackfriars years and sets out the wider implications for both the modern theatre and the academy.
Get access

Keywords

act-divisioncandlelightintervalstagecraftstage-sitting
Type
Element
Information
Series: Elements in Shakespeare Performance
Online ISBN: 9781108866842
Publisher: Cambridge University Press
Print publication: 25 April 2024

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Astington, John. (1999). English Court Theatre, 1558–1642, Cambridge: Cambridge University Press.Google Scholar
Austern, Linda Phyliss. (1985–1986). Sweet Meats with Sour Sauce: The Genesis of Musical Irony in English Drama after 1600. The Journal of Musicology 4:4, 472–90.CrossRefGoogle Scholar
Baldwin, T. W. (1947). Shakspere’s Five-Act Structure: Shakspere’s Early Plays on the Background of Renaissance Theories of Five-Act Structure from 1470, Urbana: University of Illinois Press.Google Scholar
Baldwin, T. W. (1965). On Act and Scene Division in the Shakspere First Folio, Carbondale and Edwardsville: Southern Illinois University Press.Google Scholar
Barroll, Leeds. (2005). Shakespeare and the Second Blackfriars Theater. Shakespeare Studies 33, 156–70.Google Scholar
Beaumont, Francis. (1984). The Knight of the Burning Pestle, ed., Zitner, Sheldon P.. Manchester: Manchester University Press.Google Scholar
Beaumont, Francis. (2012). The Honest Man’s Fortune, ed., Ioppolo, Grace. Manchester: Manchester University Press.Google Scholar
Bentley, G. E. (1941–1968). The Jacobean and Caroline Stage. 7 Vols., Oxford: Clarendon Press.Google Scholar
Bentley, G. E. (1948). Shakespeare and the Blackfriars Theatre. Shakespeare Survey 1, 38–50.Google Scholar
Billington, Michael. (2011). Theatre Intervals: Is It Curtains? The Guardian, 1 March. www.theguardian.com/stage/theatreblog/2011/mar/01/theatre-intervals.Google Scholar
Billington, Michael. (2014). A Spirited Romp by Candlelight. The Guardian, 27 February. www.theguardian.com/stage/2014/feb/27/the-knight-burning-pestle-adele-thomas-review.Google Scholar
Blayney, Peter W. M. (1996). Ed. and Intro. The First Folio of Shakespeare: Based on Folios in the Folger Shakespeare Library Collection Prepared by Charlton Hinman, New York: W. W. Norton.Google Scholar
Bly, Mary. (2000). Queer Virgins and Virgin Queans on the Early Modern Stage, Oxford: Oxford University Press.CrossRefGoogle Scholar
Bourne, Claire M. L. (2020a). Typographies of Performance in Early Modern England, Oxford: Oxford University Press.CrossRefGoogle Scholar
Bourne, Claire M. L. (2020b). Typography after Performance. In Stern, Tiffany, ed., Rethinking Theatrical Documents in Shakespeare’s England, London: Bloomsbury, 193–215.Google Scholar
Bourus, Terri. (2018). Editing and Directing: Mise en scene, mis en page. In Dustagheer, Sarah and Woods, Gillian, eds., Stage Directions and Shakespearean Theatre, London: Bloomsbury, 163–87.Google Scholar
Bradley, David. (1992). From Text to Performance in the Elizabethan Theatre: Preparing the Play for the Stage, Cambridge: Cambridge University Press.Google Scholar
Richard., Braithwait (1631). Whimzies: or a New Cast of Characters. LondonGoogle Scholar
Carson, Neil. (1988). A Companion to Henslowe’s Diary, Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Chambers, E. K. (1923). The Elizabethan Stage. 4 Vols., Oxford: Clarendon Press.Google Scholar
Cohen, Ralph Alan. (2009). The Most Convenient Place: The Second Blackfriars Theater and Its Appeal. In Dutton, Richard, ed., The Oxford Handbook of Early Modern Theatre, Oxford: Oxford University Press, 209–24.Google Scholar
Cotgrave, Randle. (1611). A Dictionary of the French and English [T]ongues, London.Google Scholar
Dekker, Thomas. (1606). The Seven Deadly Sinnes of London, London.Google Scholar
Thomas., Dekker (1609). The Guls Horne-Book, LondonGoogle Scholar
Dessen, Alan C. and Thomson, Leslie. (1999). A Dictionary of Stage Directions in English Drama, 1580–1642, Cambridge: Cambridge University Press.Google Scholar
Dillon, Janett. (1994). Is There a Performance in This Text? Shakespeare Quarterly 45, 74–86.CrossRefGoogle Scholar
Dustagheer, Sarah. (2014). Appendix: List of Plays Performed at Indoor Playhouses, 1575–1642. In Gurr, Andrew and Karim-Cooper, Farah, eds., Moving Shakespeare Indoors: Performance and Repertoire in the Jacobean Playhouse, Cambridge: Cambridge University Press, 252–9.Google Scholar
Dustagheer, Sarah. (2017). Shakespeare’s Two Playhouses: Repertory and Theatre Space at the Globe and the Blackfriars, 1599–1613, Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Dutton, Richard. (2009). Ed. The Oxford Handbook of Early Modern Theatre, Oxford: Oxford University Press.Google Scholar
Dutton, Richard. (2016). Shakespeare, Court Dramatist, Oxford: Oxford University Press.CrossRefGoogle Scholar
Egan, Gabriel. (2011). Precision, Consistency, and Completeness in Early-Modern Playbook Manuscripts: The Evidence from Thomas of Woodstock and John a Kent and John a Cumber. The Library 12:4, 376–91.CrossRefGoogle Scholar
Erne, Lukas. (2003). Shakespeare as Literary Dramatist, Cambridge: Cambridge University Press.Google Scholar
Finkelpearl, Philip J. (1966). John Marston’s Histrio-Mastix as an Inns of Court Play: A Hypothesis. Huntington Library Quarterly 29, 223–34.CrossRefGoogle Scholar
Fitzpatrick, Tim. (2011). Playwright, Space, and Place in Early Modern Performance: Shakespeare and Company, Farnham: Ashgate.Google Scholar
Foakes, R. A. (1985). Illustrations of the English Stage, 1580–1642, London: Scolar Press.Google Scholar
Foakes, R. A. (2002). Ed. Henslowe’s Diary, Cambridge: Cambridge University Press.Google Scholar
Fotheringham, Richard. (2021). Staging Music in Shakespeare. Australian Drama Studies 78, 7–33.Google Scholar
Graves, R. B. (1999). Lighting the Shakespearean Stage, 1567–1642, Carbondale and Edwardsville: Southern Illinois University Press.Google Scholar
Graves, R. B. (2009). Lighting. In Dutton, Richard, ed., The Oxford Handbook of Early Modern Theatre, Oxford: Oxford University Press, 528–42.Google Scholar
Greg, W. W. (1931). Dramatic Documents from the Elizabethan Playhouses: Stage Plots, Actors’ Parts, Prompt Books. 2 Vols., Oxford: Clarendon Press.Google Scholar
Greg, W. W. (1939–1959). A Bibliography of the English Printed Drama to the Restoration. 4 Vols., London: Printed for the Bibliographical Society at the Oxford University Press.Google Scholar
Greg, W. W. (1955). The Shakespeare First Folio: Its Bibliographical and Textual History, Oxford: Clarendon Press.Google Scholar
Gurr, Andrew. (1989). The Tempest’s Tempest at Blackfriars. Shakespeare Survey 41, 91–102.Google Scholar
Gurr, Andrew. (1996). The Shakespearian Playing Companies, Oxford: Oxford University Press.CrossRefGoogle Scholar
Gurr, Andrew. (1999). Maximal and Minimal Texts: Shakespeare v. The Globe. Shakespeare Survey 52, 68–87.Google Scholar
Gurr, Andrew. (2004). Playgoing in Shakespeare’s London 3rd ed., Cambridge: Cambridge University Press.Google Scholar
Gurr, Andrew and Ichikawa, Mariko. (2000). Staging in Shakespeare’s Theatres, Oxford: Oxford University Press.Google Scholar
Gurr, Andrew and Karim-Cooper, Farah. (2014). Eds. Moving Shakespeare Indoors: Performance and Repertoire in the Jacobean Playhouse, Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Hammond, Anthony. (1992). Encounters of the Third Kind in Stage-Directions in Elizabethan and Jacobean Drama. Studies in Philology 89:1, 71–99.Google Scholar
Harbage, Alfred. (1964). Annals of English Drama, 975–1700 rev. Samuel Schoenbaum, London: Methuen.Google Scholar
Hirrel, Michael J. (2010). Duration of Performances and Lengths of Plays: How Shall We Beguile the Lazy Time? Shakespeare Quarterly 61:2, 159–82.Google Scholar
Hirsh, James. (2002). Act Divisions in the Shakespeare First Folio. Publications of the Bibliographical Society of America 96:2, 219–56.Google Scholar
Holland, Peter. (2001). Beginning in the Middle. Proceedings of the British Academy 111 2000 Lectures and Memoirs, Oxford: Oxford University Press.Google Scholar
Hosley, Richard. (1966). Was there a Music-Room in Shakespeare’s Globe? Shakespeare Survey 13, 113–23.Google Scholar
Hutchings, Mark. (2011). De Flores between the Acts. Studies in Theatre & Performance 33:1, 95–111.CrossRefGoogle Scholar
Hutchings, Mark. (2013). The Interval and Indoor Playmaking. Studies in Theatre & Performance 33:3, 263–79.CrossRefGoogle Scholar
Hutchings, Mark. (2023). The Changeling by Design. In John, D. Sanderson, ed., 400 Años de The Changeling, Alicante: Universitat d’Alacant, 37–55.Google Scholar
Ichikawa, Mariko. (2002). Shakespearean Entrances, Basingstoke: Palgrave Macmillan.CrossRefGoogle Scholar
Ichikawa, Mariko. (2012). The Shakespearean Stage Space 2nd ed., Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Jackson, MacD. P. (2001). Shakespeare’s Richard II and the Anonymous Thomas of Woodstock. Medieval and Renaissance Drama in England 14, 17–65.Google Scholar
Jewkes, Wilfred T. (1958). Act Division in Elizabethan and Jacobean Plays, 1583–1616, New York: AMS Press.Google Scholar
Johnson, Laurie. (2018). Shakespeare’s Lost Playhouse: Eleven Days at Newington Butts, New York: Routledge.Google Scholar
Ben., Jonson (1631). The New Inn. LondonGoogle Scholar
Jones, Emrys. (1971). Scenic Form in Shakespeare, Oxford: Clarendon Press.Google Scholar
Jonson, Ben. (1616). The Workes of Beniamin Ionson, London.Google Scholar
Jonson, Ben. (1988). The Staple of News. Ed. Parr, Anthony, Manchester: Manchester University Press.Google Scholar
Jonson, Ben. (2000). The Magnetic Lady. Ed. Happé, Peter, Manchester: Manchester University Press.Google Scholar
Kathman, David. (2004). Reconsidering ‘The Seven Deadly Sins’. Early Theatre 7:1, 13–44.CrossRefGoogle Scholar
Kathman, David. (2009). Inn-Yard Playhouses. In Dutton, Richard, ed., The Oxford Handbook of Early Modern Theatre, Oxford: Oxford University Press, 153–67.Google Scholar
Kidnie, Margaret Jane. (2004). The Staging of Shakespeare’s Drama in Print Editions. In Erne, Lukas and Kidnie, Margaret Jane, eds., Textual Performances: The Modern Reproduction of Shakespeare’s Drama, Cambridge: Cambridge University Press, 158–77.Google Scholar
Kiernan, Pauline. (1999). Staging Shakespeare at the New Globe, Basingstoke: Macmillan.CrossRefGoogle Scholar
Knutson, Roslyn L. (2002). Two Playhouses, Both Alike in Dignity. Shakespeare Studies 30, 111–17.Google Scholar
Knutson, Roslyn L. (2006). What If There Wasn’t a ‘Blackfriars Repertory’? In Menzer, Paul, ed., Inside Shakespeare: Essays on the Blackfriars Stage, Selinsgrove: Susquehanna University Press, 54–60.Google Scholar
Kuhn, Thomas. (1996). The Structure of Scientific Revolutions 3rd ed., Chicago: University of Chicago Press.CrossRefGoogle Scholar
Lawson, Mark. (2016). Pause and Effect: Tradition of Multiple Intervals Gets a Revival. The Guardian, 27 February. www.theguardian.com/stage/2016/feb/27/multiple-intervals-chekhov-ibsen.Google Scholar
Lindley, David. (2009). Blackfriars, Music and Masque: Theatrical Contexts of the Last Plays. In Catherine, M. S. Alexander, ed., The Cambridge Companion to Shakespeare’s Last Plays, Cambridge: Cambridge University Press, 29–45.CrossRefGoogle Scholar
Long, William B. (1985). ‘A Bed/for Woodstock’: A Warning for the Unwary. Medieval and Renaissance Drama in England 2, 91–118.Google Scholar
Long, William B. (1999). ‘Precious Few’: English Manuscript Playbooks. In Kastan, David Scott, ed., A Companion to Shakespeare, Oxford: Blackwell, 414–33.Google Scholar
Marston, John. (1975). The Malcontent. Ed. Hunter, George K., London: Methuen.Google Scholar
Marston, John. (1986). Sophonisba, in Three Jacobean Witchcraft Plays. Eds. Corbin, Peter and Sedge, Douglas, Manchester: Manchester University Press.Google Scholar
Massai, Sonia. (2004). Scholarly Editing and the Shift from Print to Electronic Cultures. In Erne, Lukas and Kidnie, Margaret Jane, eds., Textual Performances: The Modern Reproduction of Shakespeare’s Drama, Cambridge: Cambridge University Press, 94–108.Google Scholar
Thomas., May (1657). The Life of a Satyrical Puppy Called Nim. LondonGoogle Scholar
McMillin, Scott. (1973). The Plots of The Dead Man’s Fortune and The Seven Deadly Sins: Inferences for Theatre Historians. Studies in Bibliography 26, 235–43.Google Scholar
Mehl, Dieter. (1965). The Elizabethan Dumb Show: The History of a Dramatic Convention, London: Methuen.Google Scholar
Menzer, Paul. (2006). Ed. Inside Shakespeare: Essays on the Blackfriars Stage, Selinsgrove: Susquehanna University Press.Google Scholar
Menzer, Paul. (2013). Lines. In Henry, S. Turner, ed., Early Modern Theatricality, Oxford: Oxford University Press, 113–32.Google Scholar
Middleton, Thomas. (2007a). The Phoenix, eds., Danson, Lawrence and Kamps, Ivo. In Taylor, Gary and Lavagnino, John, gen. eds., Thomas Middleton: The Collected Works, Oxford: Oxford University Press, 91–127.Google Scholar
Middleton, Thomas. (2007b). Your Five Gallants, eds., Ralph Alan Cohen with John Jowett. In Taylor, Gary and Lavagnino, John, gen. eds., Thomas Middleton: The Collected Works, Oxford: Oxford University Press, 594–636.Google Scholar
Mowat, Barbara. (2001). The Reproduction of Shakespeare’s Texts. In de Grazia, Margreta and Wells, Stanley, eds., The Cambridge Companion to Shakespeare, Cambridge: Cambridge University Press, 13–29.CrossRefGoogle Scholar
Munro, Lucy. (2005). Children of the Queen’s Revels: A Jacobean Theatre Repertory, Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Munro, Lucy. (2009). Music and Sound. In Dutton, Richard, ed., The Oxford Handbook of Early Modern Theatre, Oxford: Oxford University Press, 543–59.Google Scholar
Munro, Lucy. (2020). Shakespeare in the Theatre: The King’s Men, London: Bloomsbury.CrossRefGoogle Scholar
Nelson, Alan H. (1989). Cambridge 2 Vols. Records of Early English Drama, Toronto: University of Toronto Press.Google Scholar
Nelson, Alan H. (1994). Early Cambridge Theatres: College, University, and Town Stages, 1464–1720, Cambridge: Cambridge University Press.Google Scholar
Newdigate, John. (2012). The Humorous Magistrate. Ed. Kidnie, Margaret Jane, Manchester: Manchester University Press, for the Malone Society.Google Scholar
Oxford English Dictionary. (Oxford: Oxford University Press, 2010). Web.Google Scholar
Shakespeare, William. (1623). Mr. William Shakespeares Comedies, Histories & Tragedies, London.Google Scholar
Shakespeare, William. (1995). Titus Andronicus. Ed. Bate, Jonathan, London: Routledge.Google Scholar
Shakespeare, William. (1997). Titus Andronicus. Ed. Maus, Katherine Eiseman. In Greenblatt, Stephen, gen., ed., The Norton Shakespeare: Based on the Oxford Edition, New York: W. W. Norton.Google Scholar
Shakespeare, William. (1999). The Tempest. Ed. Virginia Mason Vaughan and Alden T. Vaughan, Walton-on-Thames, Thomas Nelson.Google Scholar
Shakespeare, William. (2006). Titus Andronicus. Ed. Hughes, Alan, Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Shirley, James. (1652). The Doubtful Heir. LondonGoogle Scholar
Smith, Irwin. (1964). Shakespeare’s Blackfriars Playhouse: Its History and Its Design, New York: New York University Press.Google Scholar
Smith, Irwin. (1967). Their Exits and Reentrances. Shakespeare Quarterly 18:1, 7–16.CrossRefGoogle Scholar
Smith, Joshua S. (2012). Reading between the Acts: Satire and the Interludes in The Knight of the Burning Pestle. Studies in Philology 109:4, 474–95.CrossRefGoogle Scholar
Smith, Simon. The Many Performance Spaces for Music at Jacobean Indoor Playhouses. In Barclay, Bill and Lindley, David, eds., Shakespeare, Music and Performance, Cambridge: Cambridge University Press, 29–41.Google Scholar
Snuggs, Henry L. (1960). Shakespeare and Five Acts: Studies in a Dramatic Convention, New York: Vantage Press.Google Scholar
Somerset, Alan. (1994). ‘How Chances It They Travel?’: Provincial Touring, Playing Spaces, and the King’s Men. Shakespeare Survey 47, 45–60.CrossRefGoogle Scholar
Stern, Tiffany. (2009). Documents of Performance in Early Modern England, Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Stern, Tiffany. (2014). ‘A Ruinous Monastery’: The Second Blackfriars Playhouse as a Place of Nostalgia. In Gurr, Andrew and Karim-Cooper, Farah, eds., Moving Shakespeare Indoors: Performance and Repertoire in the Jacobean Playhouse, 97–114.CrossRefGoogle Scholar
Stern, Tiffany. (2018). Inventing Stage Directions; Demoting Dumb Shows. In Dustagheer, Sarah and Woods, Gillian, eds., Stage Directions and Shakespearean Theatre, London: Bloomsbury, 19–43.Google Scholar
Streitberger, William. (2016). The Masters of the Revels and Elizabeth I’s Court Theatre, Oxford: Oxford University Press.CrossRefGoogle Scholar
Syme, Holger Schott. (2008). Unediting the Margin: Jonson, Marston, and the Theatrical Page. English Literary Renaissance 38:1, 142–71.CrossRefGoogle Scholar
Syme, Holger Schott. (2018). Pastiche or Archetype? The Sam Wanamaker Playhouse and the Project of Theatrical Reconstruction. Shakespeare Survey 71, 135–46.Google Scholar
Taylor, Gary. (1979). Three Studies in the Text of Henry V. In Stanley Wells and Gary Taylor, Modernizing Shakespeare’s Spelling, with Three Studies in the Text of ‘Henry V’, Oxford: Clarendon Press, 37–164.Google Scholar
Taylor, Gary. (1993). The Structure of Performance: Act-Intervals in the London Theatres, 1576–1642. In Taylor, Gary and Jowett, John, eds., Shakespeare Reshaped 1606–1623, Oxford: Clarendon Press, 3–50.Google Scholar
Taylor, Gary, and Lavagnino, John. (2007a). Gen. eds., Thomas Middleton: The Collected Works, Oxford: Oxford University Press.Google Scholar
Taylor, Gary, and Lavagnino, John (2007b). Gen. eds., Thomas Middleton and Early Modern Textual Culture, Oxford: Oxford University Press.Google Scholar
Taylor, Gary, and Duhaime, Doug. (2017). Who Wrote the Fly Scene (3.2) in Titus Andronicus? Automated Searches and Deep Reading. In Taylor, Gary and Egan, Gabriel, eds., The New Oxford Shakespeare: Authorship Companion, Oxford: Oxford University Press, 67–91.CrossRefGoogle Scholar
Thomson, Leslie. (1996). A Quarto ‘Marked for Performance’: Evidence of What? Medieval and Renaissance Drama in England 8, 176–210.Google Scholar
Thomson, Leslie. (2010). Playgoers on the Outdoor Stages of Early Modern London. Theatre Notebook 14:1, 3–11.Google Scholar
Thomson, Leslie. (2013). Blackfriars Stage Sitters and the Staging of The Tempest, The Maid’s Tragedy, and The Two Noble Kinsmen. In Kathryn, M. Moncrief, Kathryn McPherson, R., and Enloe, Sarah, eds., Shakespeare Expressed: Page, Stage, and Classroom in Shakespeare and His Contemporaries, Madison: Fairleigh Dickinson University Press, 175–85.Google Scholar
Thomson, Leslie. (2016). Dumb Shows in Performance on the Early Modern Stage. Medieval and Renaissance Drama in England 21, 17–45.Google Scholar
Tosh, Will. (2018). Playing Indoors: Staging Early Modern Drama in the Sam Wanamaker Playhouse, London: Bloomsbury.CrossRefGoogle Scholar
Turner, Henry S. (2006). The English Renaissance Stage: Geometry, Poetics, and the Practical Spatial Arts, 1580–1630, Oxford: Oxford University Press.CrossRefGoogle Scholar
Van Kampen, Claire. (2017). ‘Music Still’: Understanding and Reconstructing Shakespeare’s Use of Musical Underscore. Shakespeare Survey 70, 30–39.Google Scholar
Wells, Stanley. Re-editing Shakespeare for the Modern Reader, Oxford: Clarendon Press.CrossRefGoogle Scholar
Wells, Stanley and Taylor, Gary. Modernizing Shakespeare’s Spelling, with Three Studies in the Text of ‘Henry V’, Oxford: Oxford University Press.Google Scholar
White, Martin. (1998). Renaissance Drama in Action: An Introduction to Aspects of Theatre Practice and Performance, London: Routledge.Google Scholar
White, Martin. (2014). ‘When Torchlight Made an Artificial Noon’: Light and Darkness in the Indoor Jacobean Theatre. In Gurr, Andrew and Karim-Cooper, Karim, eds., Moving Shakespeare Indoors: Performance and Repertoire in the Jacobean Playhouse, Cambridge: Cambridge University Press, 115–36.Google Scholar
White, Martin. (2018). ‘By Indirections Find Directions Out’: Unpicking Early Modern Stage Directions. In Dustagheer, Sarah and Woods, Gillian, eds., Stage Directions and Shakespearean Theatre, London: Bloomsbury, 191–211.Google Scholar
Womack, Peter. (2013). Off-Stage. In Henry, S. Turner, ed., Early Modern Theatricality, Oxford: Oxford University Press, 71–92.Google Scholar
Womack, Peter. (2019). Embodied Theatre in The Changeling. In Hutchings, Mark, ed., ‘The Changeling’: A Critical Reader, London: Bloomsbury, 93–119.CrossRefGoogle Scholar

Save element to Kindle

To save this element to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Approaching the Interval in the Early Modern Theatre
  • Mark Hutchings, Universidad de Salamanca, Spain
  • Online ISBN: 9781108866842
Available formats
×

Save element to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Approaching the Interval in the Early Modern Theatre
  • Mark Hutchings, Universidad de Salamanca, Spain
  • Online ISBN: 9781108866842
Available formats
×

Save element to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Approaching the Interval in the Early Modern Theatre
  • Mark Hutchings, Universidad de Salamanca, Spain
  • Online ISBN: 9781108866842
Available formats
×