Shakespeare's Two Playhouses Repertory and Theatre Space at the Globe and the Blackfriars, 1599–1613

In what ways did playwrights like Shakespeare respond to the two urban locations of the Globe and the Blackfriars? What was the effect of their different acoustic and visual experiences on actors and audiences? What did the labels 'public' for the Globe and 'private' for the Blackfriars, actually mean in practice? Sarah Dustagheer offers the first in-depth, comparative analysis of the performance conditions of the two sites. This engaging study examines how the social, urban, sensory and historical characteristics of these playhouses affected dramatists, audiences and actors. Each chapter provides new interpretations of seminal King's Men's works written as the company began to perform in both settings, including The Alchemist, The Tempest and Henry VIII. Presenting a rich and compelling account of the two early modern theatres, the book also suggests fresh insights into recent contemporary productions at Shakespeare's Globe, London and the new Sam Wanamaker Playhouse.

Introduction; 1. Social space; 2. Urban space; 3. Playing space; 4. Haunted space; Conclusion.

Sarah Dustagheer is Lecturer in Early Modern Literature at the School of English, University of Kent, Canterbury. She has delivered public talks at the National Theatre, the Royal Opera House and The Marlowe Theatre. She is also a member of Shakespeare's Globe Architecture Research Group, tasked with advising on the maintenance of the Globe and the construction of the Sam Wanamaker Playhouse.