INDEX TO THE GLOBE PLAYS

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