Table of Contents

William Ingram: Introduction: Early Modern Theatre History: where we are now, how we got here, where we go next
Section A: Theatre Companies
1: W.R. Streitberger: Adult Playing Companies to 1583
2: Sally-Beth MacLean: Adult Playing Companies, 1583 to 1593
3: Roslyn Knutson: Adult Playing Companies, 1593 to 1603
4: Tom Rutter: Adult Playing Companies 1603 to 1613
5: James Marino: Adult Playing Companies 1613 to 1625
6: Martin Butler: Adult playing companies 1625 to 1642
7: Michael Shapiro: Early (pre-1590) Boy Companies & their Acting Venues
8: Mary Bly: The boy companies 1599-1613
Section B: London Playhouses
9: David Kathman: Inn-yard Playhouses
10: Gabriel Egan: The Theatre in Shoreditch, 1576-1599
11: Andrew Gurr: Why the Globe is Famous
12: Ralph Alan Cohen: The Most Convenient Place: The Second Blackfriars Theatre and Its Appeal
13: Mark Bayer: The Red Bull Playhouse
14: Frances Teague: The Phoenix and the Cockpit-in-Court Playhouses
Section C: Other Playing Spaces
15: Suzanne Westfall: 'He who pays the piper calls the tune': Household Entertainments
16: Alan H. Nelson: The Universities and the Inns of Court
17: Peter Greenfield: Touring
18: . John H. Astington: Court theatre
19: Anne Lancashire: London Street Theatre
Section D: Social Practices
20: Alan Somerset: Not Just Sir Oliver Owlet: From Patrons to 'Patronage' of Early Modern Theatre
21: Richard Dutton: The Court, The Master of the Revels and The Players
22: Susan Cerasano: Theatre Entrepreneurs and Theatrical Economics
23: Ian W. Archer: The City of London and the Theatre
24: David Kathman: Players, Livery Companies, and Apprentices
25: Kathleen E. McLuskie: Materiality and the Market: the case of the Lady Elizabeth's Men. The Lady Elizabeth's Men and the challenge of theatre history
26: Heather Hirschfeld: 'For the author's credit': Issues of Authorship in English Renaissance Drama
27: Natasha Korda: Women in the Theatre
Section E: Evidence of Theatrical Practices
28: Jacalyn Royce: Early Modern Naturalistic Acting: The Role of the Globe in the Development of Personation
29: Tiffany Stern: Actors' Parts
30: Alan C. Dessen: Stage Directions and the Theatre Historian
31: R. B. Graves: Lighting
32: Lucy Munro: Music and sound
33: Andrew Sofer: Properties
34: Thomas Postlewait: Eyewitnesses to History: Visual Evidence for Theatre in Early Modern England
35: Eva Griffith: Christopher Beeston, His Property and Properties
Composite Bibliography
Index

Introduction: Early Modern Theatre History: where we are now, how we got here, where we go next; SECTION A: THEATRE COMPANIES; 1. Adult Playing Companies to 1583; 2. Adult Playing Companies, 1583 to 1593; 3. Adult Playing Companies, 1593 to 1603; 4. Adult Playing Companies 1603 to 1613; 5. Adult Playing Companies 1613 to 1625; 6. Adult playing companies 1625 to 1642; 7. Early (pre-1590) Boy Companies & their Acting Venues; 8. The boy companies 1599-1613; SECTION B: LONDON PLAYHOUSES; 9. Inn-yard Playhouses; 10. The Theatre in Shoreditch, 1576-1599; 11. Why the Globe is Famous; 12. The Most Convenient Place: The Second Blackfriars Theatre and Its Appeal; 13. The Red Bull Playhouse; 14. The Phoenix and the Cockpit-in-Court Playhouses; SECTION C: OTHER PLAYING SPACES; 15. 'He who pays the piper calls the tune': Household Entertainments; 16. The Universities and the Inns of Court; 17. Touring; 18. Court theatre; 19. London Street Theatre; SECTION D: SOCIAL PRACTICES; 20. Not Just Sir Oliver Owlet: From Patrons to 'Patronage' of Early Modern Theatre; 21. The Court, The Master of the Revels and The Players; 22. Theatre Entrepreneurs and Theatrical Economics; 23. The City of London and the Theatre; 24. Players, Livery Companies, and Apprentices; 25. Materiality and the Market: the case of the Lady Elizabeth's Men. The Lady Elizabeth's Men and the challenge of theatre history; 26. 'For the author's credit': Issues of Authorship in English Renaissance Drama; 27. Women in the Theatre; SECTION E: EVIDENCE OF THEATRICAL PRACTICES; 28. Early Modern Naturalistic Acting: The Role of the Globe in the Development of Personation; 29. Actors' Parts; 30. Stage Directions and the Theatre Historian; 31. Lighting; 32. Music and sound; 33. Properties; 34. Eyewitnesses to History: Visual Evidence for Theatre in Early Modern England; 35. Christopher Beeston, His Property and Properties; Composite Bibliography; Index

Reviews

`Each of the 36 richly detailed essays beckons to be read... Many among this all-star lineup of distinguished contributors have published book-length studies on their respective academic specializations... Collectively, the essays accrue, building a comprehensive and coherent profile of the world of early modern theater'
P.D. Nelsen, CHOICE
`a very valuable tool'
William Proctor Williams, Notes and Queries