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,60-61All’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,172,173,179,187,196,204,205,208-209,211Antony 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,230-231As 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,159-160,167,171-172,180,184,195,198,208-212,226Burbage’s roles in,1,134,136Character types,148-154Coriolanus,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,169,182,204,205,206,226Cromwell, Thomas Lord.SeeThomas Lord Cromwell.Dating of the plays,x-xivDevil’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,61Dramaturgic 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 alsostaging 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,157-158Every 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,61Exit lines,107Fair 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,188,198,227-228Formal scenes,229Hamlet,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,171,181,183-185,187,192,193-195,200-203,205,208-209,212Julius 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,230Larum for London, A.SeeA Larum for LondonLear, 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,159,170,180-181,198,200,205,208,210-211Localization of action,64-67,73,220;through chorus,68;through identification of stage doors with place,72-73London Prodigal, The,1;character type in,152;dating of,xiii;dramaturgic practice in,36,44;property in,223;staging in,175,199,227Macbeth,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,61Malcontent, The,96,223;dating of,xiv;disguise in,226Measure 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,170,175,179,184,187,194-195,198,208,210-212,226Merry 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,188,227Merry 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,171,186,190,208,210,212,227Miseries of Enforced Marriage, dating of,xiii;dramaturgic practice in,37;properties in,223,224;stage, use of,90-92,94;staging in,163-164,166,175,227Narrative patterns in, episodic form,48-51;“mirror” form,51-53;“river” form,50-51Opening action in,34Othello,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,171,178,180,186,187,189,196,208,210,227Pericles,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,172,184,190,204,205,226-227Premieres of,23Properties 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,70,81Revenger’s Tragedy, The,58;dating of,xiii;disguise in,198,228;dramaturgic practice in,44,56-57;narrative pattern in,51;properties in,223,224,225Satiromastix,223;dating of,xiii;properties in,74Sejanus,58;dating of,xiii;dramaturgic practice in,37,44;narrative pattern in,49;properties in,223,224Simultaneous setting,159-160Spatial illusion in,160-162,164Stage, use of: above,89-92,230-231;doors,70-71;enclosure,82-88,185,194-196,211-212;heavens,94;stage posts,94;trap,92-93,201-202Staging, 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,165-168Theme in,60-61Thomas Lord Cromwell, dating of,xiii;dramaturgic practice in,37,44;narrative pattern in,48;properties in,223,224;stage, use of,185;staging,185,227Timon 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,184,189,196,204,205,209,212Troilus 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,170,172,175,184,190-192,204,206,208Twelfth 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,168-169,173,196,198-200,208,210-212,226Volpone,135;dating of,xiii;disguise in,228;dramaturgic practice in,37;properties in,77,80,223,224,230;stage, use of,84,87Yorkshire Tragedy, A,1;character type in,152;dating of,xiii;property in,77,223;stage, use of,86,89-90