Throughout this chapter I have stressed dramatic factors usually ignored, and minimized factors usually stressed. The theory of staging which emerges, therefore, departs in some ways from the views generally accepted. I have emphasized that, in re-creating Globe stage practices, we must be cautious:
(1) Not to reconstruct staging only in terms of settings;
(2) Not to disregard or underestimate the vital role that the entrances and exits played in the artistic organization of the productions;
(3) Not to neglect the inclination of the Globe company towards uniformity in staging;
(4) Not to overvalue the necessity or even the desirability of novelty in staging;
(5) Not to underestimate the ability of the Elizabethan narrative to shape its own principles of staging;
(6) Not to assume that staging at the Globe occupied as crucial a role in rehearsing and performing a play as it does, aesthetically and organizationally, in the theater today.