Shakespeare at the Globe, 1599-1609

by Bernard Beckerman

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]