References to Pollard and Redgrave’s Short-Title Catalogue (2nd ed.) are provided for early printed works published before 1640. For early books printed after 1640, a reference is provided from Wing’s Short-Title Catalogue (2nd ed.). Editions of early works are listed alphabetically by editor.Google Scholar

Ackroyd, Julie, Child Actors on the London Stage, circa 1600: Their Education, Recruitment and Theatrical Success (Brighton: Sussex Academic Press, 2017).CrossRefGoogle Scholar

Adelman, Janet, The Common Liar: An Essay on ‘Antony and Cleopatra’ (New Haven: Yale University Press, 1973).Google Scholar

Aebischer, Pascale, ‘The Properties of Whiteness: Renaissance Cleopatras from Jodelle to Shakespeare’, Shakespeare Survey 65 (2012), 221–38.Google Scholar

Anglicus, Bartholomeus, Batman uppon Bartholome His Booke ‘De Proprietatibus Rerum’, Newly Corrected, Enlarged and Amended, trans. Stephen Batman (London, 1582). STC 1538.Google Scholar

Anon., An Ease for Overseers of the Poore Abstracted from the Statutes (Cambridge, 1601). STC 7446.Google Scholar

Anon., The Famelie of Love (London, 1608). STC 17879.Google Scholar

Anon., Histrio-mastix. Or, The Player Whipt (London, 1610). STC 13529.Google Scholar

Anon., The Office of Christian Parents Shewing How Children Are to Be Governed throughout All Ages and Times of Their Life (Cambridge, 1616). STC 5180.Google Scholar

Anon., A Pleasant Conceited Historie, Called The Taming of a Shrew (London, 1594). STC 23667.Google Scholar

Anon., Poor Robin’s Jests: Or, The Compleat Jester (London, 1667). Wing W3075A.Google Scholar

Anon., The Returne from Pernassus: or The Scourge of Simony (London, 1606). STC 19309.Google Scholar

Anon., ‘This Indenture witnesseth, that [William Chaplyn] … doth put himself apprentice to [Thomas Barrow], citizen and [apothecary] of London, to learn his art: and with him (after the manner of an apprentice) … anno Dom. 16[83]’, Early English Books Tract Supplement Interim Guide/C.18.e.2[31] (available at www.proquest.com/docview/2240903825?accountid=9851, last accessed 15 March 2021).Google Scholar

Anon., A Two-Fold Treatise the One Decyphering the Worth of Speculation, and of a Retired Life. The Other Containing a Discoverie of Youth and Old Age (Oxford, 1612). STC 24251.Google Scholar

Anon., The Warres of Cyrus King of Persia, against Antiochus King of Assyria, with the Tragicall Ende of Panthæa (London, 1594). STC 6160.Google Scholar

Anon., The Weakest Goeth to the Wall (London, 1600). STC 25145.Google Scholar

Anon., The Wisdome of Doctor Dodypoll (London, 1600). STC 6991.Google Scholar

Arab, Ronda, Manly Mechanicals on the Early Modern English Stage (Selinsgrove, PA: Susquehanna University Press, 2011).Google Scholar

Arcangeli, Alessandro, Recreation in the Renaissance: Attitudes towards Leisure and Pastimes in European Culture, c. 1425–1675 (Basingstoke: Palgrave Macmillan, 2003).Google Scholar

Ariès, Philippe, Centuries of Childhood, trans. Robert Baldick (London: Penguin, 1962).Google Scholar

Armin, Robert, The History of the Two Maids of More-clacke with the Life and Simple Maner of John in the Hospitall (London, 1609). STC 773.Google Scholar

Ascham, Roger, The Scholemaster or Plaine and Perfite Way of Teachyng Children to Understand, Write, and Speake the Latin Tong (London, 1570). STC 832.Google Scholar

Ascham, Roger, Toxophilus the Schole of Shootinge Contayned in Two Bookes (London, 1545). STC 837.Google Scholar

Astington, John H., Actors and Acting in Shakespeare’s Time: The Art of Stage Playing (Cambridge University Press, 2010).Google Scholar

Astington, John H., ‘Bird, Theophilus (bap. 1608, d. 1663)’, ODNB, 23 September 2004 (available at https://doi.org/10.1093/ref:odnb/67756, last accessed 10 February 2021).Google Scholar

Astington, John H., ‘Descent Machinery in the Playhouses’, MRDE 2 (1985), 119–33.Google Scholar

Astington, John H., ‘The Messalina Stage and Salisbury Court Plays’, Theatre Journal 43.2 (1991), 141–56.CrossRefGoogle Scholar

Astington, John H., ‘Mohun [Moone], Michael (c. 1616–1684)’, ODNB, 23 September 2004 (available at https://doi.org/10.1093/ref:odnb/18885, last accessed 10 February 2021).Google Scholar

Astington, John H., ‘Perkins [Parkins], Richard Mulcas(c. 1579–1650)’, ODNB, 23 September 2004 (available at https://doi.org/10.1093/ref:odnb/67767, last accessed 10 February 2021).Google Scholar

Astington, John H., ‘The Popularity of Cupid’s Revenge’, SEL 19.2 (1979), 215–27.Google Scholar

Astington, John H., ‘Timoclea at the Siege of Thebes’, Lost Plays Database, 2010 (available at https://lostplays.folger.edu/Timoclea_at_the_Siege_of_Thebes, last accessed 4 January 2020).Google Scholar

Augustine of Hippo, , Of the City of God with the Learned Comments of Jo. Lod. Vives, trans. John Healey (London, 1610). STC 916.Google Scholar

Austern, Linda Phyllis, Music in English Children’s Drama of the Later Renaissance (Philadelphia: Gordon and Breach, 1992).Google Scholar

Bacon, Francis, The Essayes or Counsels, Civill and Morall, of Francis Lo. Verulum, Viscount St. Alban. Newly Written (London, 1625). STC 1147.Google Scholar

Bailey, Amanda, ‘“Bought My Boye”: The Boy as Accessory on the Early Modern Stage’, in Mirabella, Bella (ed.), Ornamentalism: The Art of Renaissance Accessories (Ann Arbor: University of Michigan Press, 2011), pp. 308–28.Google Scholar

Baird, Caroline, Games and Gaming in Early Modern Drama: Stakes and Hazards (Basingstoke: Palgrave Macmillan, 2020).Google Scholar

Bamber, Linda, Comic Women, Tragic Men: Gender and Genre in Shakespeare (Stanford University Press, 1982).Google Scholar

Banham, Martin (ed.), The Cambridge Guide to Theatre. 2nd ed. (Cambridge University Press, 1995).Google Scholar

Bank of England, ‘Inflation Calculator’, Bank of England, 2018 (available at www.bankofengland.co.uk/monetary-policy/inflation/inflation-calculator, last accessed 4 December 2020).Google Scholar

Barbour, Richmond, ‘“When I Acted Young Antinous”: Boy Actors and the Erotics of Jonsonian Theater’, PMLA 10.5 (1995), 1006–22.Google Scholar

Barker, Roberta, ‘Dick Robinson and the Spanish Ladies, or The English Farsanta Unmask’d’, Unpublished seminar paper, Shakespeare Association of America Annual Meeting, Atlanta, GA, 8 April 2017.Google Scholar

Barker, Roberta, ‘“Not One Thing Exactly”: Gender, Performance and Critical Debates over the Early Modern Boy-Actress’, Literature Compass 6.2 (2009), 460–81.CrossRefGoogle Scholar

Barker, Roberta, ‘The “Play-Boy”, the Female Performer, and the Art of Portraying a Lady’, Shakespeare Bulletin 33.1 (2015), 83–97.Google Scholar

Barker, William (ed.), Richard Mulcaster’s ‘Positions Concerning the Training Up of Children’ (Toronto: University of Toronto Press, 1994).Google Scholar

Barlow, William, The Navigators Supply Conteining Many Things of Principall Importance Belonging to Navigation (London, 1597). STC 1445.Google Scholar

Barnes, Barnabe, The Divils Charter: A Tragædie Conteining the Life and Death of Pope Alexander the Sixt. (London, 1607). STC 1466.Google Scholar

Barrie, Robert, ‘Elizabethan Play-Boys in the Adult London Companies’, SEL 48.2 (2008), 237–57.Google Scholar

Barwick, John, Hieronikēs, or, The Fight, Victory, and Triumph of S. Paul Accommodated to the Right Reverend Father in God Thomas, Late L. Bishop of Duresme …: Together with the Life of the Said Bishop (London, 1660). Wing B1008.Google Scholar

Bate, Jonathan, and Rasmussen, Eric (eds.), William Shakespeare: Complete Works (Basingstoke: Macmillan, 2007).Google Scholar

Beattie, Cordelia, ‘Economy’, in Cavallo, Sandra and Evangelisti, Silvia (eds.), A Cultural History of Childhood and Family in the Early Modern Age (London: Bloomsbury, 2010), pp. 49–67.Google Scholar

Beaumont, Francis, The Knight of the Burning Pestle (London, 1613). STC 1674.Google Scholar

Beaumont, Francis, and Fletcher, John, Comedies and Tragedies, Written by Francis Beaumont and John Fletcher, Gentlemen. Never Printed Before, and Now Published by the Authours Originall Copies (London, 1647). Wing B1581.Google Scholar

Beaumont, Francis, and Fletcher, John, Fifty Comedies and Tragedies Written by Francis Beaumont and John Fletcher, Gentlemen (London, 1679). Wing B1582.Google Scholar

Beaumont, Francis, and Fletcher, John, The Maides Tragedy (London, 1619). STC 1677.Google Scholar

Bedau, Dani, and Hopkins, D. J., ‘The Shakespeare Laboratory: Intercepting “Authenticity” through Research, Pedagogy, and Performance’, Theatre Topics 23.2 (2013), 145–56.CrossRefGoogle Scholar

Ben-Amos, Ilana Krausman, Adolescence and Youth in Early Modern England (New Haven: Yale University Press, 1994).Google Scholar

Bennett, Susan, Theatre Audiences: A Theory of Production and Reception, 2nd ed. (London and New York: Routledge, 1997).Google Scholar

Bentley, G. E., The Jacobean and Caroline Stage, vol. 2: Dramatic Companies and Players (Oxford: Clarendon Press, 1941).Google Scholar

Bentley, G. E., The Profession of Player in Shakespeare’s Time, 1590–1642 (Princeton University Press, 1984).Google Scholar

Bernstein, Robin, ‘Childhood as Performance’, in Duane, Anna Mae (ed.), The Children’s Table: Childhood Studies and the Humanities (Athens: University of Georgia Press, 2013), pp. 203–12.Google Scholar

Berry, Herbert, ‘Where Was the Playhouse in Which the Boy Choristers of St. Paul’s Cathedral Performed Plays?’, MRDE 13 (2001), 101–16.Google Scholar

Bevington, David, Butler, Martin, and Donaldson, Ian (eds.), The Cambridge Edition of the Works of Ben Jonson, 7 vols. (Cambridge University Press, 2012).Google Scholar

Billing, Christian M., ‘Historiography, Rehearsal Processes, and Performance as Translation; or, How to Stage Early Modern English Drama Today?’, Performance as Research in Early English Theatre Studies: ‘The Three Ladies of London’ in Context, McMaster University, 2015 (available at http://threeladiesoflondon.mcmaster.ca/par/ChristianMBilling.htm, last accessed 15 February 2021).Google Scholar

Billing, Christian M., ‘Rehearsing Shakespeare: Embodiment, Collaboration, Risk and Play …’, Shakespeare Bulletin 30.4 (2012), 383–410.Google Scholar

Bishop, Tom, ‘Shakespeare’s Theater Games’, JMEMS 40.1 (2010), 65–88.Google Scholar

Blamires, Adrian, ‘The Dating and Attribution of Alphonsus, Emperor of Germany’, Early Theatre 21.2 (2018), 111–19.Google Scholar

Bloom, Gina, ‘Games’, in Turner, Henry S. (ed.), Early Modern Theatricality (Oxford University Press, 2013), pp. 189–211.Google Scholar

Bloom, Gina, Gaming the Stage: Playable Media and the Rise of English Commercial Theater (Ann Arbor: University of Michigan Press, 2018).Google Scholar

Bly, Mary, Queer Virgins and Virgin Queans on the Early Modern Stage (Oxford University Press, 2000).CrossRefGoogle Scholar

Boguszak, Jacob, ‘Actors’ Parts in the Plays of Ben Jonson’ (PhD thesis, University of Oxford, 2016).Google Scholar

Bond, R. Warwick (ed.), The Complete Works of John Lyly, 3 vols. (Oxford University Press, 1902).Google Scholar

Boorde, Andrew, The Boke for to Learne a Man to Be Wyse in Buyldyng of His Howse for the Helth of Body & to Holde Quyetnes for the Helth of His Soule, and Body the Boke for a Good Husbande to Lerne (London, 1550). STC 3373.Google Scholar

Bourne, Claire M. L., Typographies of Performance in Early Modern England (Oxford University Press, 2020).Google Scholar

Bowers, Fredson (ed.), The Dramatic Works in the Beaumont and Fletcher Canon, 10 vols. (Cambridge University Press, 1966–96).Google Scholar

Bowers, Fredson (ed.), The Dramatic Works of Thomas Dekker, 4 vols. (Cambridge University Press, 1953–61).Google Scholar

Bowers, Roger, ‘The Playhouse of the Choristers of Paul’s, c. 1575–1608’, Theatre Notebook 54.2 (2000), 70–85.Google Scholar

Brailsford, Dennis, Sport and Society: Elizabeth to Anne (University of Toronto Press, 1969).Google Scholar

Bratton, Jacky, New Readings in Theatre History (Cambridge University Press, 2003).Google Scholar

Bray, Alan, Homosexuality in Renaissance England (London: Gay Men’s Press, 1982).Google Scholar

Brinsley, John, Corderius Dialogues Translated Grammatically for the More Speedy Attaining to the Knowledge of the Latine Tongue, for Writing and Speaking Latine (London, 1614). STC 5762.Google Scholar

Brinsley, John, Ludus Literarius: Or, The Grammar Schoole (London, 1612). STC 3770.Google Scholar

Brome, Richard, The City Wit, or, The Woman Wears Breeches (London, 1653). Wing B4866.Google Scholar

Brome, , Richard, , and Heywood, Thomas, The Late Lancashire Witches, ed. Ostovich, Helen, Richard Brome Online, Royal Holloway, University of London, 2010 (available at www.dhi.ac.uk/brome/viewTranscripts.jsp?play=LW&act=1&type=BOTH, last accessed 7 March 2019).Google Scholar

Brome, Richard, and Heywood, Thomas, The Late Lancashire Witches a Well Received Comedy (London, 1634). STC 13373.Google Scholar

Brooks, Christopher, ‘Apprenticeship, Social Mobility and the Middling Sort, 1550–1800’, in Barry, Jonathan and Brooks, Christopher (eds.), The Middling Sort of People: Culture, Society and Politics in England, 1550–1800 (Basingstoke: Palgrave Macmillan, 1994), pp. 52–83.Google Scholar

Brown, Andy, ‘“Being Unseminared”: Pleasure, Instruction, and Playing the Queen in Anthony and Cleopatra’, in Budra, Paul and Werier, Clifford (eds.), Shakespeare and Consciousness (Basingstoke: Palgrave Macmillan, 2016), pp. 165–89.Google Scholar

Brown, Ivor, Shakespeare and the Actors (London: Bodley Head, 1970).Google Scholar

Brown, John Russell, Free Shakespeare (London: Heinemann, 1974).Google Scholar

Brown, Pamela Allen, ‘Anatomy of an Actress: Bel-Imperia as Tragic Diva’, Shakespeare Bulletin 33.1 (2015), 49–65.Google Scholar

Brown, Pamela Allen, ‘“Cattle of this Colour”: Boying the Diva in As You Like It’, Early Theatre 15.1 (2012), 145–66.Google Scholar

Brown, Pamela Allen, ‘Dido, Boy Diva of Carthage: Marlowe’s Dido Tragedy and the Renaissance Actress’, in Henke, Robert and Nicholson, Eric (eds.), Transnational Mobilities in Early Modern Theater (Farnham: Ashgate, 2014), pp. 113–30.Google Scholar

B[rowne], J[ohn], The Marchants Avizo (London, 1589). STC 3908.4.Google Scholar

Bruster, Douglas, ‘Local Tempest: Shakespeare and the Work of the Early Modern Playhouse’, in Murphy, Patrick M. (ed.), ‘The Tempest’: Critical Essays (London: Routledge, 2013), pp. 257–75.Google Scholar

Bulman, James C., ‘Unsex Me Here: Male Cross-Dressing at the New Globe’, in Bulman, James C. (ed.), Shakespeare Re-Dressed: Cross-Gender Casting in Contemporary Performance (Madison, NJ: Fairleigh Dickinson University Press, 2008), pp. 231–45.Google Scholar

Bulwer, John, A View of the People of the Whole World, or, A Short Survey of their Policies, Dispositions, Naturall Deportments, Complexions, Ancient and Moderne Customes, Manners, Habits & Fashions (London, 1654). Wing B5470.Google Scholar

Burnett, Mark Thornton, Masters and Servants in English Renaissance Drama and Culture: Authority and Obedience (London: Macmillan, 1997).Google Scholar

Burns, Raymond S. (ed.) John Day’s ‘The Isle of Guls’: A Critical Edition (New York: Garland Publishing, 1980).Google Scholar

Burton, Richard, Versatile Ingenium: The Wittie Companion, or Jests of All Sorts (London, 1679). Wing V257A.Google Scholar

Burton, Robert, The Apprentices Companion Containing Plain and Useful Directions for Servants, Especially Apprentices, How to Perform Their Particular Dutys to Their Masters, so as to Please God (London, 1681). Wing C7310.Google Scholar

Bushnell, Rebecca W., A Culture of Teaching: Early Modern Humanism in Theory and Practice (Ithaca, NY: Cornell University Press, 1996).Google Scholar

Busse, Claire M., ‘Profitable Children: Children as Commodities in Early Modern England’, in Boyd McBride, Kari (ed.), Domestic Arrangements in Early Modern England (Pittsburgh, PA: Duquesne University Press, 2002), pp. 209–43.Google Scholar

Caillois, Roger, Man, Play and Games, trans. Meyer Barash (Champaign: University of Illinois Press, 1961).Google Scholar

Callaghan, Dympna, Shakespeare without Women: Representing Gender and Race on the Renaissance Stage (London: Routledge, 2000).Google Scholar

Carlson, Marvin, The Haunted Stage: The Theatre as Memory Machine (Ann Arbor: University of Michigan Press, 2003).Google Scholar

Carson, Christie, and Karim-Cooper, Farah (eds.), Shakespeare’s Globe: A Theatrical Experiment (Cambridge University Press, 2008).Google Scholar

Cathcart, Charles, Marston, Rivalry, Rapprochement, and Jonson (Farnham: Ashgate, 2008).Google Scholar

Catholic Church, A Mittimus to the Jubile at Rome: or, The Rates of the Popes Custome-House Sent to the Pope, as a New-Yeeres-Gift from England, this Yeere of Jubile, 1625 (London, 1625). STC 6023.Google Scholar

Cave, Richard Allen, ‘Script and Performance’, in Cave, Richard, Schafer, Elizabeth, and Woolland, Brian (eds.), Ben Jonson and Theatre: Performance, Practice and Theory (London: Routledge, 1999), pp. 21–30.Google Scholar

Cave, Richard Allen, ‘The Value of Practical Work and of Theatregoing in the Study of Seventeenth-Century Drama (1600–1640)’, Literature Compass 1 (2003), n.p.Google Scholar

Chakravarty, Urvashi, ‘Bound to Serve: Apprenticeship Indentures at the Folger’, The Collation: Research and Exploration at the Folger, Folger Shakespeare Library, 5 January 2018 (available at https://collation.folger.edu/2018/01/indentures/, last accessed 15 March 2021).Google Scholar

Chambers, E. K., The Elizabethan Stage, 4 vols. (Oxford: Clarendon Press, 1923).Google Scholar

Chapman, George, Al Fooles a Comedie (London, 1605). STC 4963.Google Scholar

Chapman, George, Bussy d’Ambois: A Tragedie …. Being Much Corrected and Amended by the Author Before His Death (London, 1641). Wing C1942.Google Scholar

Chapman, George, May-Day A Witty Comedie (London, 1611). STC 4980.Google Scholar

Chapman, George, The Tragedy of Alphonsus, Emperour of Germany (London, 1654). Wing C1952.Google Scholar

Chapman, George, Jonson, Ben, and Marston, John, Eastward Hoe (London, 1605). STC 4970.Google Scholar

Charney, Maurice, ‘Female Roles and the Children’s Companies: Lyly’s Pandora in The Woman in the Moon’, RORD 22 (1979), 37–43.Google Scholar

Chess, Simone, ‘Queer Residue: Boy Actors’ Adult Careers in Early Modern England’, JEMCS 19.4 (2019), 242–64.Google Scholar

Clare, Janet, Shakespeare’s Stage Traffic: Imitation, Borrowing and Competition in Renaissance Theatre (Cambridge University Press, 2015).Google Scholar

Cleaver, Robert, and Dod, John, A Godlie Forme of Householde Government for the Ordering of Private Families, According to the Direction of Gods Word (London, 1612). STC 5386.Google Scholar

Clubb, Louise George, Italian Drama in Shakespeare’s Time (New Haven: Yale University Press, 1989).Google Scholar

Cockett, Peter, ‘Performing the Queen’s Men: A Project in Theatre Historiography’, in Ostovich, Helen, Schott Syme, Holger, and Griffin, Andrew (eds.), Locating the Queen’s Men, 1583–1603: Material Practices and the Conditions of Playing (Aldershot: Ashgate, 2009), pp. 229–41.Google Scholar

Cogan, Thomas, The Haven of Health Chiefely Gathered for the Comfort of Students, and Consequently All Those That Have a Care of Their Health, Amplified upon Five Words of Hippocrates. … Hereunto Is Added a Preservation from the Pestilence, with a Short Censure of the Late Sicknes at Oxford (London, 1584). STC 5478.Google Scholar

Cohen, Ralph Alan, ‘The Most Convenient Place: The Second Blackfriars Theater and Its Appeal’, in Dutton, Richard (ed.), The Oxford Handbook of Early Modern Theatre (Oxford University Press, 2011), pp. 209–24.Google Scholar

Colley, John Scott, John Marston’s Theatrical Drama (University of Salzburg, 1974).Google Scholar

Collie, Ashley Jude, ‘Shakespeare’s Hotspur Would Be Proud to See His Namesake Tottenham Hotspur Leading Another British Invasion of America’, Huffpost, 21 July 2015 (available at www.huffpost.com/entry/shakespeares-hotspur-woul_b_7836846, last accessed 12 October 2021).Google Scholar

Colón Semenza, Gregory M., Sport, Politics and Literature in the English Renaissance (Newark: University of Delaware Press, 2003).Google Scholar

Conkie, Rob, ‘Constructing Femininity in the New Globe’s All-Male Antony and Cleopatra’, in Bulman, James C. (ed.), Shakespeare Re-Dressed: Cross-Gender Casting in Contemporary Performance (Madison, NJ: Fairleigh Dickinson University Press, 2008), pp. 189–209.Google Scholar

Conkie, Rob, The Globe Theatre Project: Shakespeare and Authenticity (Lewiston, NY: Edwin Mellen Press, 2006).Google Scholar

Cook, Judith, Women in Shakespeare (London: Harrap, 1980).Google Scholar

Cooke, Edward, The Character of Warre, or The Image of Martiall Discipline (London, 1626). STC 5668.Google Scholar

Coryat, Thomas, Coryats Crudities Hastily Gobled up in Five Moneths Travells in France, Savoy, Italy, Rhetia Co[m]monly Called the Grisons Country, Helvetia aliàs Switzerland, Some Parts of High Germany, and the Netherlands (London, 1611). STC 5807.Google Scholar

Cotton, Charles, The Compleat Gamester, or, Instructions How to Play at Billiards, Trucks, Bowls, and Chess Together with All Manner of Usual and Most Gentile Games Either on Cards or Dice (London, 1674). Wing C6382.Google Scholar

Cousin-Desjobert, Jacqueline, Richard Mulcaster c. 1531–1611: Un éducateur de la Renaissance anglaise (Paris: Éditions SPM, 2013).Google Scholar

Cram, David, Forgeng, Jeffrey L., and Johnston, Dorothy (eds.), Francis Willughby’s Book of Games: A Seventeenth-Century Treatise on Sports, Games and Pastimes (Aldershot: Ashgate, 2003).Google Scholar

Crouch, Humphrey, England’s Jests Refin’d and Improv’d (London, 1687). Wing C7277dA.Google Scholar

Daborne, Robert, A Christian Turn’d Turke: or, The Tragicall Lives and Deaths of the Two Famous Pyrates, Ward and Dansiker (London, 1612). STC 6184.Google Scholar

Daniel, Samuel, Certaine Small Workes Heretofore Divulged by Samuel Daniell (London, 1607).Google Scholar

Daniel, Samuel, Delia and Rosamond Augmented; Cleopatra (London, 1594). STC 6243.4.Google Scholar

Davenport, Robert, King John and Matilda, a Tragedy (London, 1655). Wing D370.Google Scholar

Davids, Karel, ‘Work, Skill, and Technology’, in De Munck, Bert and Max Safley, Thomas (eds.), A Cultural History of Work in the Early Modern Age (London: Bloomsbury, 2019), pp. 101–12.Google Scholar

Davies, Callan, ‘Bowling Alleys and Playhouses in London, 1560–90’, Early Theatre 22.2 (2019), 39–66.Google Scholar

Davies, W. Robertson, Shakespeare’s Boy Actors (London: J. M. Dent & Sons, 1939).Google Scholar

Davis, Jim, Normington, Katie, and Bush-Bailey, Gilli with Jacky Bratton, ‘Researching Theatre History and Historiography’, in Kershaw, Baz and Nicholson, Helen (eds.), Research Methods in Theatre and Performance (Edinburgh University Press, 2011), pp. 86–110.Google Scholar

Day, John, Humour Out of Breath (London, 1608). STC 6411.Google Scholar

Day, John, The Ile of Guls (London, 1606). STC 6412.Google Scholar

Deats, Sara Munson, ‘Shakespeare’s Anamorphic Drama: A Survey of Antony and Cleopatra in Criticism, on Stage, and on Screen’, in Deats, Sara Munson (ed.), ‘Antony and Cleopatra’: New Critical Essays (London: Routledge, 2005), pp. 1–93.Google Scholar

Dekker, Thomas, Blurt Master-Constable. Or The Spaniards Night-Walke (London, 1602). STC 17876.Google Scholar

Dekker, Thomas, The Guls Horne-Booke (London, 1609). STC 6500.Google Scholar

Dekker, Thomas, The Pleasant Comedie of Old Fortunatus (London, 1600). STC 6517.Google Scholar

Dekker, Thomas, Satiro-mastix. Or The Untrussing of the Humorous Poet (London, 1602). STC 6521.Google Scholar

Dekker, Thomas, The Shomakers Holiday. Or The Gentle Craft with the Humorous Life of Simon Eyre, Shoomaker, and Lord Maior of London (London, 1600). STC 6523.Google Scholar

Dekker, Thomas, and Massinger, Philip, The Virgin Martir a Tragedie (London, 1622). STC 17644.Google Scholar

Dekker, Thomas, and Webster, John, North-ward Hoe (London, 1607). STC 6539.Google Scholar

Dekker, Thomas, and Webster, John, West-ward Hoe (London, 1607). STC 6540.Google Scholar

DeMolen, Richard L., ‘Richard Mulcaster and the Elizabethan Theatre’, Theatre Survey 13.1 (1972), 28–41.Google Scholar

DeMolen, Richard L., Richard Mulcaster (c. 1531–1611) and Educational Reform in the Renaissance (Nieuwkoop: De Graaf, 1991).Google Scholar

Dessen, Alan C., ‘The Body of Stage Directions’, Shakespeare Studies 29 (2001), 27–35.Google Scholar

Dessen, Alan C., Elizabethan Stage Conventions and Modern Interpreters (Cambridge University Press, 1984).Google Scholar

Dessen, Alan C., ‘“Original Practices” at the Globe: A Theatre Historian’s View’, in Carson, Christie and Karim-Cooper, Farah (eds.), Shakespeare’s Globe: A Theatrical Experiment (Cambridge University Press, 2008), pp. 45–53.Google Scholar

Dessen, Alan C., and Thomson, Leslie, A Dictionary of Stage Directions in English Drama, 1580–1642 (Cambridge University Press, 1999).Google Scholar

DiGangi, Mario, The Homoerotics of Early Modern Drama (Cambridge University Press, 1997).Google Scholar

Dimmock, Matthew (ed.), William Percy’s ‘Mahomet and His Heaven’: A Critical Edition (Aldershot: Ashgate, 2006).Google Scholar

Downey, Greg, ‘Educating the Eyes: Biocultural Anthropology and Physical Education’, Anthropology in Action 12.2 (2005), 56–71.Google Scholar

Duffin, Ross W., Some Other Note: The Lost Songs of English Renaissance Comedy (Oxford University Press, 2018).Google Scholar

Dusinberre, Judith, ‘Squeaking Cleopatras: Gender and Performance in Antony and Cleopatra’, in Bulman, James C. (ed.), Shakespeare, Theory, and Performance (London: Routledge, 1996), pp. 46–67.Google Scholar

Dustagheer, Sarah, Shakespeare’s Two Playhouses: Repertory and Theatre Space at the Globe and the Blackfriars, 1599–1613 (Cambridge University Press, 2017).Google Scholar

Dustagheer, Sarah, Jones, Oliver, and Rycroft, Eleanor, ‘(Re)constructed Spaces for Early Modern Drama: Research in Practice’, Shakespeare Bulletin 35.2 (2017), 173–86.Google Scholar

Dutton, Elisabeth, ‘A Manifesto for Performance Research’, in Cochrane, Claire and Robinson, Joanna (eds.), The Methuen Drama Handbook to Theatre History and Historiography (London: Bloomsbury, 2019), pp. 249–60.Google Scholar

Dutton, Richard, Shakespeare, Court Dramatist (Oxford University Press, 2016).Google Scholar

Dutton, Richard, Shakespeare’s Theatre: A History (Chichester: Wiley-Blackwell, 2018).Google Scholar

Earle, John, Micro-cosmographie. Or, A Peece of the World Discovered; in Essayes and Characters (London, 1628). STC 7440.Google Scholar

Edgecombe, David, Theatrical Training during the Age of Shakespeare (New York: Edwin Mellen Press, 1995).Google Scholar

Edwards, Philip, and Gibson, Colin (eds.), The Plays and Poems of Philip Massinger, 5 vols. (Oxford: Clarendon Press, 1976).Google Scholar

Elliott, John R., Jr, Nelson, Alan, Johnston, Alexandra F., and Wyatt, Diana (eds.), Records of Early English Drama: Oxford, vol. 2 (University of Toronto Press, 2004).Google Scholar

Elyot, Thomas, The Boke Named The Governour (London, 1531). STC 7635.Google Scholar

Elyot, Thomas, The Castel of Helth (London, 1539). STC 7643.Google Scholar

Enterline, Lynn, Shakespeare’s Schoolroom: Rhetoric, Discipline, Emotion (Philadelphia: University of Pennsylvania Press, 2012).Google Scholar

Erasmus, Desiderius, The Civilitie of Childehode with the Discipline and Institucion of Children, trans. Thomas Paynell (London, 1560). STC 10470.3.Google Scholar

Esche, Edward J., and Fuller, David (eds.), The Complete Works of Christopher Marlowe, vol. 5: ‘Tamburlaine the Great, Parts 1 and 2’, and ‘The Massacre at Paris with the Death of Duke of Guise’ (Oxford: Clarendon Press, 1998).Google Scholar

Evans, G. Blakemore (ed.), The Riverside Shakespeare (London: Houghton Mifflin Co., 1974).Google Scholar

Fass, Paula S., ‘Introduction’, in Fass, Paula S. (ed.), The Routledge History of Childhood in the Western World (London: Routledge, 2013), pp. 1–14.Google Scholar

Ferraro, Joanne M., ‘Childhood in Medieval and Early Modern Times’, in Fass, Paula S. (ed.), The Routledge History of Childhood in the Western World (London: Routledge, 2013), pp. 61–77.Google Scholar

Feuillerat, Albert (ed.), Documents Relating to the Office of the Revels in the Time of Queen Elizabeth (Louvain: A. Uystpruyst, 1908).Google Scholar

Field, Nathan, Amends for Ladies a Comedie (London, 1618). STC 10851.Google Scholar

Field, Nathan, A Woman Is a Weather-Cocke a New Comedy (London, 1612). STC 10854.Google Scholar

Fletcher, Anthony, Gender, Sex and Subordination in England 1500–1800 (New Haven: Yale University Press, 1995).Google Scholar

Foakes, R. A., ‘John Marston’s Fantastical Plays: Antonio and Mellida and Antonio’s Revenge’, Philological Quarterly 41 (1962), 229–39.Google Scholar

Foakes, R. A., ‘Tragedy at the Children’s Theatres after 1600: A Challenge to the Adult Stage’, in Galloway, David (ed.), The Elizabethan Theatre II (London: Macmillan, 1970) pp. 37–59.Google Scholar

Foakes, R. A. (ed.), Henslowe’s Diary, 2nd ed. (Cambridge University Press, 1999).Google Scholar

Ford, John, Love’s Sacrifice, ed. Moore, A. T. (Manchester University Press, 2002).Google Scholar

Ford, John, Loves Sacrifice A Tragedie (London, 1633). STC 11164.Google Scholar

Ford, John, ’Tis Pitty Shee’s a Whore (London, 1633). STC 11165.Google Scholar

Fuller, Francis, Words to Give to the Young-Man Knowledg and Discretion, or, The Law of Kindness in the Tongue of a Father to His Son (London, 1685). Wing F2389.Google Scholar

Fumerton, Patricia, Cultural Aesthetics: Renaissance Literature and the Practice of Social Ornament (Urbana: University of Chicago Press, 1991).Google Scholar

Gaines, Barry, and Maurer, Margaret (eds.), Three Shrew Plays (Indianapolis: Hackett Publishing, 2010).Google Scholar

G[ainsford], T[homas], The Rich Cabinet Furnished with Varietie of Excellent Discriptions Exquisite Charracters, Witty Discourses, and Delightfull Histories, Devine and Morall (London, 1616). STC 11522.Google Scholar

Gair, W. Reavely, The Children of Paul’s: The Story of a Theatre Company, 1553–1608 (Cambridge University Press, 1982).Google Scholar

Gair, W. Reavely, ‘John Marston: A Theatrical Perspective’, in Wharton, T. F. (ed.), The Drama of John Marston: Critical Re-Visions (Cambridge University Press, 2001), pp. 27–44.Google Scholar

Gamboa, Brett, Shakespeare’s Double Plays: Dramatic Economy on the Early Modern Stage (Cambridge University Press, 2018).Google Scholar

Gasior, Mary Ann Weber (ed.), Thomas Heywood’s ‘The Four Prentices of London’: A Critical, Old-Spelling Edition (New York: Garland Publishing, 1980).Google Scholar

Gataker, Thomas, Of the Nature and Use of Lots: A Treatise Historicall and Theologicall (London, 1619). STC 11670.Google Scholar

Gates, Geoffrey, The Defence of Militarie Profession, Wherein Is Eloquently Shewed the Due Commendation of Martiall Prowesse, and Plainly Prooved How Necessary the Exercise of Armes Is for This Our Age (London, 1579). STC 11683.Google Scholar

Gibson, Joy Leslie, Squeaking Cleopatras: The Elizabethan Boy Player (Stroud: Sutton Publishing, 2000).Google Scholar

Gill, Roma (ed.), The Complete Works of Christopher Marlowe, vol. 1: ‘All Ovids Elegies’, ‘Lucans First Booke’, ‘Dido Queene of Carthage’, ‘Hero and Leander’ (Oxford: Clarendon Press, 1987).Google Scholar

Glapthorne, Henry, Poëms (London, 1639). STC 11911.Google Scholar

Goldberg, Jonathan, Sodometries: Renaissance Texts, Modern Sexualities (Stanford University Press, 1992).Google Scholar

Gosson, Stephen, The Ephemerides of Phialo Devided into Three Bookes (London, 1579). STC 12093.Google Scholar

Gosson, Stephen, Playes Confuted in Five Actions Proving that They Are Not to Be Suffred in a Christian Common Weale (London, 1582). STC 12095.Google Scholar

Gough, John, The Strange Discovery a Tragi-comedy (London, 1640). STC 12133.Google Scholar

Gowing, Laura, ‘Girls on Forms: Apprenticing Young Women in Seventeenth-Century London’, JBS 55 (2016), 447–73.Google Scholar

Grantley, Darryll, Wit’s Pilgrimage: Theatre and the Social Impact of Education in Early Modern England (London: Routledge, 2000).Google Scholar

Granville-Barker, Harley, Prefaces to Shakespeare, vol. 3 (Princeton University Press, 1946).Google Scholar

Greene, Robert, The Scottish Historie of James the Fourth (London, 1598). STC 12308.Google Scholar

Greene, Robert, The Scottish History of James IV, ed. Stein, Charles H. (University of Salzburg, 1977).Google Scholar

Greene, Robert, The Second Part of Conny-Catching (London, 1591). STC 12281.Google Scholar

Greenfield, Thelma N., The Induction in Elizabethan Drama (Eugene: University of Oregon Books, 1969).Google Scholar

Greg, W. W. (ed.), Malone Society Collections, vol. 2, part 3 (Oxford University Press, 1931).Google Scholar

Greg, W. W. (ed.), The Weakest Goeth to the Wall (Oxford University Press, 1912).Google Scholar

Griffith, Eva, A Jacobean Company and Its Playhouse: The Queen’s Servants at the Red Bull Theatre (c. 1605–1619) (Cambridge University Press, 2013).Google Scholar

Gross, Kenneth, ‘Puppets Dallying: Thoughts on Shakespearean Theatricality’, Comparative Drama, 41.3 (2007), 273–96.Google Scholar

Guilde, William, A Yong Mans Inquisition, or Triall (London, 1608). STC 12494.Google Scholar

Gurr, Andrew, ‘Maximal and Minimal Texts: Shakespeare v. the Globe’, Shakespeare Survey 52 (1999), 68–87.Google Scholar

Gurr, Andrew, ‘The New Fashion for Indoor Plays’, in Gurr, Andrew and Karim-Cooper, Farah (eds.), Moving Shakespeare Indoors: Performance and Repertoire in the Jacobean Playhouse (Cambridge University Press, 2014), pp. 203–16.Google Scholar

Gurr, Andrew, Playgoing in Shakespeare’s London, 3rd ed. (Cambridge University Press, 2004).Google Scholar

Gurr, Andrew, The Shakespearean Stage, 1574–1642, 4th ed. (Cambridge University Press, 2009).Google Scholar

Gurr, Andrew, The Shakespeare Company, 1594–1642 (Cambridge University Press, 2004).Google Scholar

Gurr, Andrew, The Shakespearian Playing Companies (Cambridge University Press, 1996).Google Scholar

Gurr, Andrew, Shakespeare’s Opposites: The Admiral’s Company, 1594–1625 (Cambridge University Press, 2009).Google Scholar

Gurr, Andrew, and Karim-Cooper, Farah (eds.), Moving Shakespeare Indoors: Performance and Repertoire in the Jacobean Playhouse (Cambridge University Press, 2014).Google Scholar

Gurr, Andrew, and Orrell, John, Rebuilding Shakespeare’s Globe (London: Weidenfeld & Nicolson, 1989).Google Scholar

Habib, Imtiaz, Shakespeare and Postcolonial Praxis in the Early Modern Period (Oxford: University Press of America, 2000).Google Scholar

Hall, Kim F., Things of Darkness: Economies of Race and Gender in Early Modern England (New York: Cornell University Press, 1996).Google Scholar

Harbage, Alfred, Annals of English Drama, 975–1700: An Analytical Record of All Plays, Extant or Lost, Chronologically Arranged and Indexed by Authors, Titles, Dramatic Companies, &c., 3rd ed., rev. Sylvia Stoler Wagonheim (London: Routledge, 1989).Google Scholar

Harbage, Alfred, Shakespeare and the Rival Traditions (New York: Macmillan, 1952).Google Scholar

Heminges, William, The Fatal Contract, a French Tragedy (London, 1653). Wing H1422.Google Scholar

Heminges, William, The Jewes Tragedy, or, Their Fatal and Final Overthrow by Vespatian and Titus, His Son (London, 1662). Wing H1425.Google Scholar

Henke, Robert, and Nicholson, Eric (eds.), Transnational Exchange in Early Modern Theater (Farnham: Ashgate, 2008).Google Scholar

Henke, Robert, and Nicholson, Eric (eds.), Transnational Mobilities in Early Modern Theater (Farnham: Ashgate, 2014).Google Scholar

Hentschell, Roze F., ‘“Our Children Made Enterluders”: Choristers, Actors, and Students in St Paul’s Cathedral Precinct’, Early Theatre 19.2 (2016), 179–96.Google Scholar

Hentschell, Roze F., St Paul’s Cathedral Precinct in Early Modern Literature and Culture: Spatial Practices (Oxford University Press, 2020).Google Scholar

Heron, Jonathan, ‘Shakespearean Laboratories and Performance-as-Research’, in Hartley, Andrew (ed.), Shakespeare on the University Stage (Cambridge University Press, 2015), pp. 232–49.Google Scholar

Heywood, Colin, ‘Children’s Work in Countryside and City’, in Fass, Paula S. (ed.), The Routledge History of Childhood in the Western World (London: Routledge, 2013), pp. 125–41.Google Scholar

Heywood, Thomas, An Apology for Actors (London, 1612). STC 13309.Google Scholar

Heywood, Thomas, The Brazen Age (London, 1613). STC 13310.Google Scholar

Heywood, Thomas, A Critical Edition of ‘The Faire Maide of the Exchange’, ed. Karl E. Snyder (New York: Garland Publishing, 1980).Google Scholar

Heywood, Thomas, The Fayre Mayde of the Exchange with the Pleasant Humours of the Cripple of Fanchurch (London, 1607). STC 13317.Google Scholar

Heywood, Thomas, The Foure Prentises of London, with the Conquest of Jerusalem (London, 1615). STC 13321.Google Scholar

Higginbotham, Jennifer, and Johnston, Mark Albert, ‘Introduction: Queer(ing) Children and Childhood in Early Modern English Drama and Culture’, in Higginbotham, Jennifer and Johnston, Mark Albert (eds.), Queering Childhood in Early Modern English Drama and Culture (Basingstoke: Palgrave Macmillan, 2018), pp. 1–30.Google Scholar

Higginbotham, Jennifer, and Johnston, Mark Albert (eds.), Queering Childhood in Early Modern English Drama and Culture (Basingstoke: Palgrave Macmillan, 2018).Google Scholar

Hill, James L., ‘“What, Are They Children?”: Shakespeare’s Tragic Women and the Boy Actors’, SEL 26.2 (1986), 235–58.Google Scholar

Hillman, David, and Mazzio, Carla, ‘Introduction: Individual Parts’, in Hillman, David and Mazzio, Carla (eds.), The Body in Parts: Fantasies of Corporeality in Early Modern Europe (London: Routledge, 1997), pp. xi–xxix.Google Scholar

Holladay, Allan (ed.), The Plays of George Chapman: The Comedies (Champaign: University of Illinois Press, 1970).Google Scholar

Holladay, Allan (ed.), The Plays of George Chapman: The Tragedies, with ‘Sir Gyles Goosecappe’ (Cambridge: D. S. Brewer, 1987).Google Scholar

Honigmann, E. A. J., and Brock, Susan (eds.), Playhouse Wills: 1558–1642 (Manchester University Press, 1993).Google Scholar

Hosley, Richard, ‘The Staging of the Monument Scenes in Antony and Cleopatra’, Library Chronicle 30 (1964), 62–71.Google Scholar

Housted, Peter, The Rivall Friends a Comoedie (London, 1632). STC 12935.Google Scholar

Howard, Jean E., The Stage and Social Struggle in Early Modern England (London: Routledge, 1994).Google Scholar

Howlett, Robert, The School of Recreation, or, The Gentlemans Tutor to those Most Ingenious Exercises of Hunting, Racing, Hawking, Riding, Cock-Fighting, Fowling, Fishing, Shooting, Bowling, Tennis, Ringing, Billiards (London, 1684). Wing H3194.Google Scholar

Ichikawa, Mariko, The Shakespearean Stage Space (Cambridge University Press, 2013).Google Scholar

‘I. G.’, A Refutation of ‘The Apology for Actors’ Divided into Three Briefe Treatises (London, 1615). STC 12214.Google Scholar

‘ingle, v.’, OED Online, Oxford University Press, September 2020 (available at https://oed.com/view/Entry/95796?rskey=R4qYfT&result=1&isAdvanced=false, last accessed 7 December 2020).Google Scholar

Ingold, Tim, The Perception of the Environment: Essays in Livelihood, Dwelling and Skill (London: Routledge, 2000).Google Scholar

Jackson, Abraham, The Pious Prentice, or, The Prentices Piety (London, 1640). STC 14295.Google Scholar

Jackson, MacDonald P., and Neill, Michael (eds.), The Selected Plays of John Marston (Cambridge University Press, 1986).Google Scholar

Jackson, Thomas, A Treatise of the Divine Essence and Attributes (London, 1628). STC 14318.Google Scholar

James VI and I, The Kings Majesties Declaration to His Subjects, concerning Lawfull Sports to Be Used (London, 1618). STC 9238.9.Google Scholar

Jardine, Lisa, Still Harping on Daughters: Women and Drama in the Age of Shakespeare, 2nd ed. (Brighton: Harvester Wheatsheaf, 1989).Google Scholar

Jenkins, Jacqueline, ‘Practice-Based Research and Early Period Theatre Histories: A Performance Methodology’, Performance as Research in Early English Theatre Studies: ‘The Three Ladies of London’ in Context, McMaster University, 2015 (available at http://threeladiesoflondon.mcmaster.ca/par/JacquelineJenkins.htm, last accessed 15 February 2021).Google Scholar

Jirásek, Ivo, and Zain Kohe, Geoffery, ‘Readjusting Our Sporting Sites/Sight: Sportification and the Theatricality of Social Life’, Sport, Ethics and Philosophy 9.3 (2015), 257–70.Google Scholar

Johnson, Nora, The Actor as Playwright in Early Modern Drama (Cambridge University Press, 2003).Google Scholar

Johnson, Richard, The Nine Worthies of London (London, 1592). STC 14686.Google Scholar

Johnston, Mark Albert, ‘Shakespeare’s Twelfth Night and the Fertile Infertility of Eroticized Early Modern Boys’, Modern Philology 114.3 (2017), 573–600.Google Scholar

Jonson, Ben, Ben: Jonson, His Case Is Alterd (London, 1609). STC 14757.Google Scholar

Jonson, Ben, The Fountaine of Selfe-Love. Or Cynthias Revels (London, 1601). STC 14773.Google Scholar

Jonson, Ben, Informations to William Drummond of Hawthornden, ed. Ian Donaldson, in Bevington, David, Butler, Martin, and Donaldson, Ian (eds.), The Cambridge Edition of the Works of Ben Jonson, vol. 5 (Cambridge University Press, 2012), pp. 359–91.Google Scholar

Jonson, Ben, Poetaster or The Arraignment (London, 1602). STC 14781.Google Scholar

Jonson, Ben, Volpone or The Foxe (London, 1607). STC 14783.Google Scholar

Jonson, Ben, The Workes of Benjamin Jonson (London, 1616). STC 14751.Google Scholar

Jonson, Ben, The Workes of Benjamin Jonson. Containing These Playes, viz. 1 Bartholomew Fayre. 2 The Staple of Newes. 3 The Divell Is an Asse (London, 1641). STC 14754.Google Scholar

Junius, Franciscus, The Painting of the Ancients in Three Bookes (London, 1638). STC 7302.Google Scholar

Kathman, David, ‘Grocers, Goldsmiths, and Drapers: Freemen and Apprentices in the Elizabethan Theater’, Shakespeare Quarterly 55.1 (2004), 1–49.Google Scholar

Kathman, David, ‘Hart, Charles (bap. 1625, d. 1683)’, ODNB, 3 January 2008 (available at https://doi.org/10.1093/ref:odnb/12473, last accessed 10 February 2021).Google Scholar

Kathman, David, ‘How Old Were Shakespeare’s Boy Actors?’, Shakespeare Survey 58 (2005), 220–46.Google Scholar

Kathman, David, ‘John Rice and the Boys of the Jacobean King’s Men’, Shakespeare Survey 68 (2015), 247–66.Google Scholar

Kathman, David, ‘Players, Livery Companies, and Apprentices’, in Dutton, Richard (ed.), The Oxford Handbook of Early Modern Theatre (Oxford University Press, 2011), pp. 413–28.Google Scholar

Kathman, David, ‘The Seven Deadly Sins and Theatrical Apprenticeship’, Early Theatre 14.1 (2011), 121–39.Google Scholar

Kaye, Nick, Multi-Media: Video, Installation, Performance (London: Routledge, 2007).Google Scholar

Kelliher, Hilton, ‘Francis Beaumont and Nathan Field: New Records of Their Early Years’, EMS 8 (2000), 1–42.Google Scholar

Kempe, William, The Education of Children in Learning Declared by the Dignitie, Utilitie, and Method Thereof (London, 1588). STC 14926.Google Scholar

Kendrick, Matthew, At Work in the Early Modern English Theater: Valuing Labor (Madison, NJ: Fairleigh Dickinson University Press, 2015).Google Scholar

Kesson, Andy, ‘Acting out of Character: A Performance-as-Research Approach to The Three Ladies of London’, Performance as Research in Early English Theatre Studies: ‘The Three Ladies of London’ in Context, McMaster University, 2015, (available at http://threeladiesoflondon.mcmaster.ca/par/AndyKesson.htm, last accessed 15 February 2021).Google Scholar

Kesson, Andy, ‘“They That Tread in a Maze”: Movement as Emotion in John Lyly’, in Meek, Richard and Sullivan, Erin (eds.), The Renaissance of Emotion: Understanding Affect in Shakespeare and His Contemporaries (Manchester University Press, 2015), pp. 177–99.Google Scholar

Kidnie, M. J., ‘The Staging of Shakespeare’s Drama in Print Editions’, in Erne, Lukas and Kidnie, M. J. (eds.), Textual Performances: The Modern Reproduction of Shakespeare’s Drama (Cambridge University Press, 2004), pp. 158–77.Google Scholar

Kiernan, Pauline, Staging Shakespeare at the New Globe (Basingstoke: Palgrave Macmillan, 1999).Google Scholar

Kincaid, Patrick, ‘John Marston’s The Dutch Courtesan and William Percy’s The Cuck-Queanes and Cuckolds Errants’, N&Q 48.3 (2001), 309–11.Google Scholar

Kirkman, Francis, The Unlucky Citizen Experimentally Described in the Various Misfortunes of an Unlucky Londoner (London, 1673). Wing K638.Google Scholar

Knapp, Robert S., ‘The Academic Drama’, in Kinney, Arthur F. (ed.), A Companion to Renaissance Drama (Oxford University Press, 2002), 257–65.Google Scholar

Knight, G. Wilson, The Imperial Theme: Further Interpretations of Shakespeare’s Tragedies Including the Roman Plays, 3rd ed. (London: Methuen, 1963).Google Scholar

Knight, G. Wilson, ‘Lyly’, RES 15 (1939), 146–63.Google Scholar

Knutson, Roslyn L., The Repertory of Shakespeare’s Company, 1594–1613 (Fayetteville: University of Arkansas Press, 1991).Google Scholar

Korda, Natasha, Labors Lost: Women’s Work and the Early Modern English Stage (Philadelphia: University of Pennsylvania Press, 2011).Google Scholar

Lamb, Edel, Performing Childhood in the Early Modern Theatre: The Children’s Playing Companies (1599–1613) (Basingstoke: Palgrave Macmillan, 2008).Google Scholar

Lamb, Margaret, ‘Antony and Cleopatra’ on the English Stage (London: Associated University Presses, 1980).Google Scholar

Lane, Joan, Apprenticeship in England, 1600–1914 (London: University College London Press, 1996).Google Scholar

Lecoq, Jacques, with Jean-Gabriel Carasso and Jean-Claude Lallias, The Moving Body: Teaching Creative Theatre, trans. David Bradby (London: Methuen Drama, 2002).Google Scholar

Leech, Jeremy, The Trayne Souldier a Sermon Preached Before the Worthy Society of the Captaynes and Gentle Men That Exercise Armes in the Artillery Garden (London, 1619). STC 15364.Google Scholar

Leggatt, Alexander, ‘Introduction’, in Hibbard, G. R. (ed.), Bartholomew Fair (London: A&C Black, 2007), pp. vii–xxvii.Google Scholar

Leishman, J. B. (ed.), The Three Parnassus Plays (1598–1601) (London: Nicholson & Watson, 1949).Google Scholar

Levine, Laura, Men in Women’s Clothing: Anti-Theatricality and Effeminization, 1579–1642 (Cambridge University Press, 1994).Google Scholar

Liddie, Alexander S. (ed.), An Old-Spelling, Critical Edition of ‘The History of the Two Maids of Moore-clacke’, by Robert Armin (New York: Garland, 1979).Google Scholar

Liew, Jonathan, ‘Offside, Onside, Penalty, Dive: Believe What You Want, but Harry Kane Has Become the Complete Striker at Spurs’, The Independent Online, 9 January 2019 (available at www.independent.co.uk/sport/football/premier-league/harry-kane-offside-penalty-dive-tottenham-vs-chelsea-spurs-carabao-cup-complete-striker-a8719136.html, last accessed 5 July 2019).Google Scholar

Lilly, William, William Lilly’s History of His Life and Times from the Year 1602 to 1681 (London, 1822).Google Scholar

Lin, Erika T., ‘Recreating the Eye of the Beholder: Dancing and Spectacular Display in Early Modern English Theatre’, Dance Research Journal 43.1 (2011 Supplement), 10–19.Google Scholar

Lin, Erika T., Shakespeare and the Materiality of Performance (Basingstoke: Palgrave Macmillan, 2012).Google Scholar

Lin, Shen, ‘How Old Were the Children of Paul’s?’, Theatre Notebook 45.3 (1991), 121–31.Google Scholar

Logan, Robert A., ‘“High Events as These”: Sources, Influences, and the Artistry of Antony and Cleopatra’, in Deats, Sara Munson (ed.), ‘Antony and Cleopatra’: New Critical Essays (London: Routledge, 2005), pp. 153–74.Google Scholar

Logan, Robert A., Shakespeare’s Marlowe: The Influence of Christopher Marlowe on Shakespeare’s Artistry (Farnham: Ashgate, 2007).Google Scholar

Long, Jonathan H., ‘The Music in Percy’s Play Manuscripts’, Renaissance Papers, 1980 (1980), 39–44.Google Scholar

Lopez, Jeremy, ‘Imagining the Actor’s Body on the Early Modern Stage’, MRDE 20 (2007), 187–203.Google Scholar

Lopez, Jeremy, ‘A Partial Theory of Original Practice’, Shakespeare Survey 61 (2008), 302–17.Google Scholar

Lyly, John, Campaspe (London, 1584). STC 17048.Google Scholar

Lyly, John, The Woman in the Moone (London, 1597). STC 17090.Google Scholar

McCarthy, Harry R., ‘The Circulation of Youthful Energy on the Early Modern London Stage: Migration, Intertheatricality, and “Growing to Common Players”’, Shakespeare Survey 73 (2020), 43–62.Google Scholar

McCarthy, Harry R., Performing Early Modern Drama beyond Shakespeare: Edward’s Boys (Cambridge University Press, 2020).Google Scholar

McCarthy, Jeanne H., The Children’s Troupes and the Transformation of English Theater 1509–1608: Pedagogue Playwrights, Playbooks, and Play-Boys (London: Routledge 2017).Google Scholar

McClelland, John, ‘The Accidental Sports Tourist: Travelling and Spectating in Medieval and Renaissance Europe’, Journal of Tourism History 5.1 (2013), 161–71.Google Scholar

MacDonald, Joyce Green, Women and Race in Early Modern Texts (Cambridge University Press, 2002).Google Scholar

McManus, Clare, ‘Feats of Activity and the Tragic Stage’, Engendering the Stage, McMaster University, 30 April 2019 (available at http://engenderingthestage.humanities.mcmaster.ca/2019/04/30/feats-of-activity-and-the-tragic-stage/, last accessed 11 March 2021)Google Scholar

McManus, Clare, ‘“Sing It Like Poor Barbary”: Othello and Early Modern Women’s Performance’, Shakespeare Bulletin 33.1 (2015), 99–120.Google Scholar

McMillin, Scott, ‘The Sharer and His Boy: Rehearsing Shakespeare’s Women’, in Holland, Peter and Orgel, Stephen (eds.), From Script to Stage in Early Modern England (Basingstoke: Palgrave Macmillan, 2004), pp. 231–51.Google Scholar

McMillin, Scott, and MacLean, Sally-Beth, The Queen’s Men and Their Plays (Cambridge University Press, 1998).Google Scholar

McNeill, William H., Keeping Together in Time: Dance and Drill in Human History (Cambridge, MA: Harvard University Press, 1995).Google Scholar

Maguire, Laurie, and Smith, Emma, ‘What Is a Source? Or, How Shakespeare Read His Marlowe’, Shakespeare Survey 68 (2015), 15–31.Google Scholar

Mamujee, Shehzana, ‘“To Serve Us in that Behalf When Our Pleasure Is to Call for Them”: Performing Boys in Renaissance England’, Renaissance Studies 28.5 (2015), 714–30.Google Scholar

Manley, Lawrence, and MacLean, Sally-Beth, Lord Strange’s Men and Their Plays (New Haven: Yale University Press, 2014).Google Scholar

Markham, Gervase, Countrey Contentments (London, 1615). STC 17342.Google Scholar

Markham, Gervase, and Sampson, William, The True Tragedy of Herod and Antipater with the Death of Faire Marriam (London, 1622). STC 17401.Google Scholar

Marlowe, Christopher, ‘Dido Queen of Carthage’ and ‘The Massacre at Paris’, ed. Oliver, H. J. (London: Methuen, 1968).Google Scholar

Marlowe, Christopher, Tamburlaine the Great (London, 1590). STC 17425.Google Scholar

Marlowe, Christopher, and Nashe, Thomas, The Tragedie of Dido Queene of Carthage (London, 1594). STC 17441.Google Scholar

Marston, John, Antonios Revenge. The Second Part (London, 1602). STC 17474.Google Scholar

Marston, John, The History of Antonio and Mellida. The First Part (London, 1602). STC 17573.Google Scholar

Marston, John, Jacke Drums Entertainment: or The Comedie of Pasquill and Katherine (London, 1601). STC 7243.Google Scholar

Marston, John, Parasitaster, or The Fawne (London, 1606). STC 17483.Google Scholar

Marston, John, What You Will (London, 1607). STC 17487.Google Scholar

Marston, John, What You Will, ed. Woodhead, M. R. (Nottingham Drama Texts, 1980).Google Scholar

Marston, John, The Wonder of Women, or The Tragedie of Sophonisba (London, 1606). STC 17488.Google Scholar

Marston, John, Barksted, William, and Machin, Lewis, The Insatiate Countess, ed. Melchiori, Giorgio (Manchester University Press, 1984).Google Scholar

Marston, John, Barksted, William, and Machin, Lewis, The Insatiate Countesse a Tragedie (London, 1613). STC 17476.5.Google Scholar

Massinger, Philip, The Bond-Man an Antient Storie (London, 1624). STC 17632.Google Scholar

Massinger, Philip, The Picture (London, 1630). STC 17640.Google Scholar

Massinger, Philip, The Roman Actor a Tragedie (London, 1629). STC 17642.Google Scholar

Mateer, David, ‘Edward Alleyn, Richard Perkins and the Rivalry between the Swan and the Rose Playhouses’, RES 60.243 (2009), 61–77.Google Scholar

Mateer, David, ‘New Light on the Early History of the Theatre in Shoreditch [with texts]’, ELR 36 (2006), 335–75.Google Scholar

Matson, M. N. (ed.), The Wisdom of Doctor Dodypoll (Oxford University Press, 1965).Google Scholar

May, Thomas, The Life of a Satyrical Puppy, Called Nim (London, 1657). Wing M82A.Google Scholar

Menzer, Paul, ‘Afterword: Discovery Spaces? Research at the Globe and Blackfriars’, in Menzer, Paul (ed.), Inside Shakespeare: Essays on the Blackfriars Stage (Selinsgrove, PA: Susquehanna University Press, 2006), pp. 223–30.Google Scholar

Menzer, Paul, ‘Character Acting’, in Karim-Cooper, Farah and Stern, Tiffany (eds.), Shakespeare’s Theatres and the Effects of Performance (London: Bloomsbury, 2014), pp. 141–67.Google Scholar

Menzer, Paul, Shakespeare in the Theatre: The American Shakespeare Center (London: Bloomsbury, 2017).Google Scholar

Middleton, Thomas, A Chast Mayd in Cheape-Side: A Pleasant Conceited Comedy Never Before Printed (London, 1630). STC 17877.Google Scholar

Middleton, Thomas, Michaelmas Terme (London, 1607). STC 17890.Google Scholar

Middleton, Thomas, A Trick to Catch the Old-One (London, 1608). STC 17896.Google Scholar

Middleton, Thomas, Two New Playes. Viz. More Dissemblers Besides Women. Women Beware Women (London, 1657). Wing M1989.Google Scholar

Minns, Chris, and Wallis, Patrick, ‘Rules and Reality: Quantifying the Practice of Apprenticeship in Early Modern England’, EHR 65.2 (2012), 556–79.Google Scholar

Minns, Chris, Wallis, Patrick, and Webb, Cliff, ‘Leaving Home and Entering Service: The Age of Apprenticeship in Early Modern London’, Continuity and Change 25.3 (2010), 377–404.Google Scholar

Mokyr, Joel, ‘The Economics of Apprenticeship’, in Prak, Maarten and Wallis, Patrick (eds.), Apprenticeship in Early Modern Europe (Cambridge University Press, 2020), 20–43.Google Scholar

Moncrief, Kathryn N., and McPherson, Kathryn R. (eds.), Performing Pedagogy in Early Modern England: Gender, Instruction and Performance (Aldershot: Ashgate, 2013).Google Scholar

Mulcaster, Richard, Positions wherin those Primitive Circumstances Be Examined, which Are Necessarie for the Training Up of Children, Either for Skill in Their Booke, or Health in Their Bodie (London, 1581). STC 18253.Google Scholar

Munday, Anthony, The Death of Robert, Earl of Huntington, ed. Meagher, John C. (Oxford University Press, 1965).Google Scholar

Munday, Anthony, The Death of Robert, Earle of Huntington Otherwise Called Robin Hood of Merrie Sherwodde (London, 1601). STC 18269.Google Scholar

Munro, Lucy, ‘Actors, Plays and Performances in the Indoor Playhouses, 1625–42: Boy Players, Leading Men and the Caroline Ensemble’, YES 44 (2014), 51–68.Google Scholar

Munro, Lucy, Children of the Queen’s Revels: A Jacobean Theatre Repertory (Cambridge University Press, 2005).Google Scholar

Munro, Lucy, ‘Coriolanus and the Little Eyases: The Boyhood of Shakespeare’s Hero’, in Chedgzoy, Kate, Greenhalgh, Susanne, and Shaughnessy, Robert (eds.), Shakespeare and Childhood (Cambridge University Press, 2007), pp. 80–95.Google Scholar

Munro, Lucy, ‘Living by Others’ Pleasure: Marston, The Dutch Courtesan, and Theatrical Profit’, Early Theatre 23.1 (2020), 109–26.Google Scholar

Munro, Lucy, ‘Robinson, Richard (c. 1595–1648)’, ODNB, 4 January 2007 (available at https://doi.org/10.1093/ref:odnb/75572, last accessed 10 February 2021).Google Scholar

Munro, Lucy, Shakespeare in the Theatre: The King’s Men (London: Bloomsbury, 2020).Google Scholar

Museum of London Archaeology, ‘The Curtain Theatre: The Citizen’s Playhouse for High-Octane Drama’, MOLA, 30 January 2018 (available at www.mola.org.uk/blog/curtain-theatre-citizens-playhouse-high-octane-drama, last accessed 8 January 2021).Google Scholar

Myers, Paul, ‘Kane Becomes Shakespeare’s Merchant of Menace’, RFI, 19 May 2017 (available at www.rfi.fr/en/sports/20170519-kane-becomes-shakespeares-merchant-menace, last accessed 12 October 2021).Google Scholar

National Archives, ‘Currency Converter: 1270–2017’, National Archives, 2017 (available at www.nationalarchives.gov.uk/currency-converter/#currency-result, last accessed 4 December 2020).Google Scholar

Neill, Michael (ed.), Anthony and Cleopatra (Oxford University Press, 1994).Google Scholar

Nicholson, Eric, ‘Ophelia Sings Like a Prima Donna Innamorata: Ophelia’s Mad Scene and the Italian Female Performer’, in Henke, Robert and Nicholson, Eric (eds.), Transnational Exchange in Early Modern Theater (Farnham: Ashgate, 2008), pp. 81–98.Google Scholar

Nixon, Anthony, A True Relation of the Travels of M. Bush (London, 1608). STC 18325.Google Scholar

Northbrooke, John, A Treatise Wherein Dicing, Dauncing, Vaine Playes or Enterluds with Other Idle Pastimes &c. Commonly Used on the Sabboth Day, Are Reproved by the Authoritie of the Word of God and Auntient Writers (London, 1577). STC 18670.Google Scholar

Nunzeger, Edwin, A Dictionary of Actors and of Others Associated with the Representation of Plays in England before 1642 (New Haven: Yale University Press, 1929).Google Scholar

Orgel, Stephen, Impersonations: The Performance of Gender in Shakespeare’s England (Cambridge University Press, 1996).Google Scholar

Orman, Steve, ‘Nathan Field’s Theatre of Excess: Youth Culture and Bodily Excess on the Early Modern Stage (1600–1613)’ (PhD thesis, Canterbury Christ Church University, 2014).Google Scholar

O’Rourke, James, ‘Disguise and Doubling: Casting King Lear’, Renaissance Drama 49.1 (2021), 57–76.Google Scholar

Overbury, Thomas, Sir Thomas Overbury His Wife. With Addition of Many New Elegies upon His Untimely and Much Lamented Death. As also New Newes, and Divers More Characters (Never Before Annexed) Written by Himselfe and Other Learned Gentlemen (London, 1616). STC 18911.Google Scholar

Palfrey, Simon, and Stern, Tiffany, Shakespeare in Parts (Oxford University Press, 2007).Google Scholar

Pangallo, Matteo A., Playwriting Playgoers in Shakespeare’s Theater (Philadelphia: University of Pennsylvania Press, 2017).Google Scholar

Pearson, Mike, and Shanks, Michael, Theatre/Archaeology (London: Routledge, 2001).Google Scholar

Peery, William (ed.), The Plays of Nathan Field (Austin: University of Texas Press, 1950).Google Scholar

Pérez Díez, José A., ‘Editing on Stage: Theatrical Research for a Critical Edition of John Fletcher and Philip Massinger’s Love’s Cure, or The Martial Maid’, Shakespeare Bulletin 34.1 (2016), 69–88.Google Scholar

Pérez Díez, José A., ‘The “Playhouse” at St Paul’s: What We Know of the Theatre in the Almonry’, in Altman, Shanyn and Buckner, Jonathan (eds.), Old St Paul’s and Culture (Cham: Palgrave Macmillan, 2021), pp. 197–220.Google Scholar

Pérez Díez, José A., ‘What You Will in The Playhouse Lab’, The Complete Works of John Marston, University of Leeds, 21 November 2017 (available at https://johnmarston.leeds.ac.uk/what-you-will-in-the-playhouse-lab, last accessed 7 August 2018).Google Scholar

Petty, William, The Advice of W. P. to Mr. Samuel Hartlib for the Advancement of Some Particular Parts of Learning (London, 1647). Wing P1914.Google Scholar

Pollard, A. W., and Redgrave, G. R., A Short-Title Catalogue of Books Printed in England, Scotland, & Ireland, and of English Books Printed Abroad, 1475–1640, 2nd ed., rev. W. A. Jackson and F. S. Ferguson, completed by Katharine F. Pantzer, 3 vols. (London: Bibliographical Society, 1976–91).Google Scholar

Pollard, Tanya (ed.), Shakespeare’s Theater: A Sourcebook (Malden, MA: Blackwell, 2004).Google Scholar

Potter, Lois, ‘Skills, Qualities, and Practice’, Shakespeare Studies 43 (2015), 27–34.Google Scholar

Potter, Ursula, ‘Performing Arts in the Tudor Classroom’, in Kermode, Lloyd, Scott-Warren, Jason, and van Elk, Martine (eds.), Tudor Drama before Shakespeare, 1485–1590: New Directions for Research, Criticism, and Pedagogy (Basingstoke: Palgrave Macmillan, 2004), 143–66.Google Scholar

Preiss, Richard, Clowning and Authorship in Early Modern Theatre (Cambridge University Press, 2014).Google Scholar

Preiss, Richard, and Williams, Deanne (eds.), Childhood, Education and the Stage in Early Modern England (Cambridge University Press, 2017).Google Scholar

‘pretty, adj.’, OED Online, Oxford University Press, September 2020 (available at https://oed.com/view/Entry/151023?rskey=FS5ywX&result=1&isAdvanced=false, last accessed 7 December 2020).Google Scholar

‘professed, adj. and n.’, OED Online, Oxford University Press, December 2020 (available at https://oed.com/view/Entry/152048?rskey=xI2OIy&result=2&isAdvanced=false#eid, last accessed 15 March 2021).Google Scholar

Proudfoot, G. R. (ed.), Tom a Lincoln (Oxford University Press, 1992).Google Scholar

Prynne, William, Histrio-mastix. The Players Scourge, or Actors Tragædie (London, 1633). STC 20464.Google Scholar

Purcell, Stephen, ‘Editing for Performance or Documenting Performance? Exploring the Relationship between Early Modern Text and Clowning’, Shakespeare Bulletin 34.1 (2016), 5–27.Google Scholar

Purcell, Stephen, ‘Practice-as-Research and Original Practices’, Shakespeare Bulletin 35.3 (2017), 425–43.Google Scholar

Purcell, Stephen, Shakespeare in the Theatre: Mark Rylance at the Globe (London: Bloomsbury, 2018).Google Scholar

Quarles, Francis, Emblemes (London, 1635). STC 20540.5.Google Scholar

Quarmby, Kevin A., ‘OP PC or PAR RIP?’, Shakespeare Bulletin 36.4 (2018), 567–98.Google Scholar

Rackin, Phyllis, Shakespeare and Women (Oxford University Press, 2005).Google Scholar

Rasmussen, Eric, ‘Setting Down what the Clown Spoke: Improvisation, Hand B, and The Book of Sir Thomas More’, The Library s6–13.2 (1991), 126–36.Google Scholar

Ravelhofer, Barbara, The Early Stuart Masque: Dance, Costume, and Music (Oxford University Press, 2006).Google Scholar

Ravelhofer, Barbara, ‘Middleton and Dance’, in Taylor, Gary and Thomas Henley, Trish (eds.), The Oxford Handbook of Thomas Middleton (Oxford University Press, 2012), pp. 131–46.Google Scholar

Rawlins, Thomas, The Rebellion a Tragedy (London, 1640). STC 20770.Google Scholar

Reynolds, Graham, Costume of the Western World: Elizabethan and Jacobean 1558–1625 (London: George G. Harrap and Company, 1951).Google Scholar

Rhoads, Rebecca G. (ed.), The Two Noble Ladies (Oxford University Press, 1992).Google Scholar

Richards, Nathaniel, The Tragedy of Messallina the Roman Emperesse (London, 1640). STC 21011.Google Scholar

Ridout, Nicholas, Stage Fright, Animals and Other Theatrical Problems (Cambridge University Press, 2006).Google Scholar

Ringler, William A., ‘Shakespeare and His Actors: Some Remarks on King Lear’, in Aycock, Wendell M. (ed.), Shakespeare’s Art from a Comparative Perspective (Lubbock: Texas Tech University Press, 1981), pp. 183–94.Google Scholar

Rokison, Abigail, Shakespearean Verse Speaking: Text and Theatre Practice (Cambridge University Press, 2009).Google Scholar

Ronay, Barney, ‘Harry Kane Keeps His Head and England Finds a Ray of Sunshine’, The Guardian Online, 18 June 2018 (available at www.theguardian.com/football/2018/jun/18/harry-kane-talismanic-captain-two-goals-tunisia, last accessed 12 October 2021).Google Scholar

Rose, Judith, ‘Performing Gender at the New Globe: The Technologies of the Cross-Dressed Actor’, in Bulman, James C. (ed.), Shakespeare Re-Dressed: Cross-Gender Casting in Contemporary Performance (Madison, NJ: Fairleigh Dickinson University Press, 2008), pp. 210–30.Google Scholar

Rosenberg, Marvin, ‘The Myth of Shakespeare’s Squeaking Boy Actor – or Who Played Cleopatra?’, Shakespeare Bulletin 19.2 (2001), 5–6.Google Scholar

Rowse, A. L., William Shakespeare: A Biography (London: Macmillan, 1963).Google Scholar

‘The Rules of Bowls’, Masters of Games, 2018 (available at www.mastersofgames.com/rules/bowls-rules.htm, last accessed 13 January 2021).Google Scholar

Rutter, Carol Chillington, Enter the Body: Women and Representation on Shakespeare’s Stage (London: Routledge, 2001).Google Scholar

Rutter, Carol Chillington, ‘Playing with Boys on Middleton’s Stage: And Ours’, in Taylor, Gary and Thomas Henley, Trish (eds.), The Oxford Handbook of Thomas Middleton (Oxford University Press, 2012), pp. 98–115.Google Scholar

Rutter, Carol Chillington, Shakespeare in Performance: ‘Antony and Cleopatra’ (Manchester University Press, 2020).Google Scholar

Rutter, Carol Chillington, ‘Unpinning Desdemona (Again) or “Who Would Be Toll’d with Wenches in a Shew?”’, Shakespeare Bulletin 28.1 (2010), 111–32.Google Scholar

Rutter, Tom, Shakespeare and the Admiral’s Men: Reading across Repertories on the London Stage, 1594–1600 (Cambridge University Press, 2017).Google Scholar

Rutter, Tom, Work and Play on the Shakespearean Stage (Cambridge University Press, 2008).Google Scholar

Salas, Eduardo, Rosen, Michael A., Shawn Burke, C., Goodwin, Gerald F., and Fiore, Stephen M., ‘The Making of a Dream Team: When Expert Teams Do Best’, in Anders Ericsson, K., Charness, Neil, Feltovich, Paul J., and Hoffman, Robert R. (eds.), The Cambridge Handbook of Expertise and Expert Performance (Cambridge University Press, 2006), pp. 439–53.Google Scholar

Sanchez, Melissa E., ‘Was Sexuality Racialized for Shakespeare? Antony and Cleopatra’, in Thompson, Ayanna (ed.), The Cambridge Companion to Shakespeare and Race (Cambridge University Press, 2021), pp. 123–38.Google Scholar

Schafer, Elizabeth, ‘The City Wit: Critical Introduction’, Richard Brome Online, Royal Holloway, University of London, 2010 (available at www.dhi.ac.uk/brome/viewOriginal.jsp?play=CW&type=CRIT, last accessed 11 October 2021).Google Scholar

Schlueter, June, and Teramura, Misha, ‘Ariodante and Genevra’, Lost Plays Database, 2015 (available at https://lostplays.folger.edu/Ariodante_and_Genevra, last accessed 4 January 2020).Google Scholar

Schneider, Rebecca, Performing Remains: Art and War in Times of Theatrical Reenactment (London: Routledge, 2011).Google Scholar

Scott, Michael, John Marston’s Plays: Theme, Structure and Performance (Basingstoke: Macmillan, 1978).Google Scholar

Shakespeare, William, A Midsommer Nights Dreame (London, 1600). STC 22303.Google Scholar

Shakespeare, William, A Most Pleasaunt and Excellent Conceited Comedie, of Syr John Falstaffe, and the Merrie Wives of Windsor (London, 1602). STC 22299.Google Scholar

Shakespeare, William, The Most Lamentable Romaine Tragedie of Titus Andronicus (London, 1594). STC 22328.Google Scholar

Shakespeare, William, Mr William Shak-speare His True Chronicle Historie of the Life and Death of King Lear and His Three Daughters (London, 1608). STC 22292.Google Scholar

Shakespeare, William, Mr. William Shakespeares Comedies, Histories, & Tragedies, Published According to the True Originall Copies (London, 1623). STC 22273.Google Scholar

Shakespeare, William, A Pleasant Conceited Comedie Called, Loves Labors Lost (London, 1598). STC 22294.Google Scholar

Shakespeare, William, The Second Part of Henrie the Fourth Continuing to His Death, and Coronation of Henrie the Fift. With the Humours of Sir John Falstaffe, and Swaggering Pistoll (London, 1600). STC 22288.Google Scholar

Shakespeare, William, The Tragedie of King Richard the Second (London, 1597). STC 22307.Google Scholar

Shapiro, Michael, ‘Boying Her Greatness: Shakespeare’s Use of Coterie Drama in Antony and Cleopatra’, MLR 77.1 (1982), 1–15.Google Scholar

Shapiro, Michael, Children of the Revels: The Boy Companies of Shakespeare’s Time and their Plays (New York: Columbia University Press, 1977).Google Scholar

Shapiro, Michael, Gender in Play on the Shakespearean Stage: Boy Heroines and Female Pages (Ann Arbor: University of Michigan Press, 1994).Google Scholar

Shapiro, Michael, ‘Lady Mary Wroth Describes a “Boy Actress”’, MRDE 4 (1989), 187–94.Google Scholar

Shapiro, Michael, ‘Le Prince d’Amour and the Resumption of Playing at Paul’s’, N&Q 18.1 (1971), 14–16.Google Scholar

Shepherd, Simon, Theatre, Body and Pleasure (London: Routledge, 2006).Google Scholar

Shirley, James, The Maides Revenge a Tragedy (London, 1639). STC 22450a.Google Scholar

Shirley, James, The Maid’s Revenge, ed. Carter, Albert Howard (New York: Garland Publishing, 1980).Google Scholar

Shirley, James, The Wittie Faire One. A Comedie (London, 1633). STC 22462.Google Scholar

‘shuttlecock, n.’, OED Online, Oxford University Press, December 2020 (available at https://oed.com/view/Entry/179078?rskey=pFSIa3&result=1&isAdvanced=false#eid, last accessed 8 January 2021).Google Scholar

Sidney-Herbert, Mary, The Tragedie of Antonie, Done into English by the Countesse of Pembroke (London, 1595). STC 11623.Google Scholar

Silverstone, Catherine, ‘Shakespeare Live: Reproducing Shakespeare at the “New” Globe Theatre’, Textual Practice 19.1 (2005), 31–50.Google Scholar

Smith, Bruce R., Homosexual Desire in Shakespeare’s England: A Cultural Poetics (Urbana: University of Chicago Press, 1994).Google Scholar

Smith, Simon, ‘Acting Amiss: Towards a History of Actorly Craft and Playhouse Judgement’, Shakespeare Survey 70 (2017), 188–99.Google Scholar

Smith, Steven R., ‘The Ideal and Reality: Apprentice–Master Relationships in Seventeenth-Century London’, HEQ 21.4 (1981), 449–59.Google Scholar

Smith, Steven R., ‘The London Apprentices as Seventeenth-Century Adolescents’, Past & Present 61 (1973), 149–61.Google Scholar

Steele, Kelly Christine, ‘Terra Incognita: A Theoretical Reconstruction of the Whitefriars Stage’ (PhD thesis, Shakespeare Institute, 2009).Google Scholar

Steggle, Matthew, ‘Casting the Prelude in Cynthia’s Revels’, N&Q 50.1 (2003), 62–3.Google Scholar

Steggle, Matthew, ‘The English Moor and the Black Briton: Critical Introduction’, Richard Brome Online, Royal Holloway, University of London, 2010 (available at www.dhi.ac.uk/brome/viewOriginal.jsp?play=EM&type=CRIT, last accessed 11 October 2021).Google Scholar

Steggle, Matthew, ‘Pavy, Salomon (bap. 1588, d. 1602)’, ODNB, 22 September 2005 (available at https://doi.org/10.1093/ref:odnb/93076, last accessed 15 February 2021).Google Scholar

Stern, Tiffany, Documents of Performance in Early Modern England (Cambridge University Press, 2009).Google Scholar

Stern, Tiffany, Rehearsal from Shakespeare to Sheridan (Oxford University Press, 2000).Google Scholar

Stone, Lawrence, The Family, Sex and Marriage in England 1500–1800 (London: Weidenfeld & Nicolson, 1977).Google Scholar

Stow, John, and A. M., The Survey of London Contayning the Originall, Increase, Moderne Estate, and Government of that City, Methodically Set Downe (London, 1633). STC 23345.Google Scholar

Streitberger, W. R. (ed.), Jacobean and Caroline Revels Accounts, 1603–1642 (Oxford University Press, 1986).Google Scholar

Stubbes, Philip, The Anatomie of Abuses Contayning a Discoverie, or Briefe Summarie of Such Notable Vices and Imperfections, as Now Raigne in Many Christian Countreyes of the Worlde (London, 1583). STC 23377.Google Scholar

Sturgess, Keith, Jacobean Private Theatre (London: Routledge, 1987).Google Scholar

Syme, Holger Schott, ‘The Jacobean King’s Men: A Reconsideration’, RES 70.294 (2019), 231–251.Google Scholar

Tan, Shzr Ee, ‘Meryl Streep Had to Master a Specific Kind of Bad Singing to Play Florence Foster Jenkins’, The Straits Times Online, 21 September 2016, (available at www.straitstimes.com/lifestyle/entertainment/in-tune-with-being-out-of-tune, last accessed 29 January 2019).Google Scholar

Taylor, Diana, The Archive and the Repertoire: Performing Cultural Memory in the Americas (Durham, NC: Duke University Press, 2003).Google Scholar

Taylor, Gary, and Lavagnino, John (eds.), Thomas Middleton: The Collected Works (Oxford University Press, 2007).Google Scholar

Taylor, Gary, and Wells, Stanley (eds.), The Oxford Shakespeare: The Complete Works, 2nd ed. (Oxford University Press, 2005).Google Scholar

Taylor, John, Wit and Mirth Chargeably Collected Out of Tavernes, Ordinaries, Innes, Bowling Greenes, and Allyes, Alehouses, Tobacco Shops, Highwaies, and Water-Passages (London, 1628). STC 23813.7.Google Scholar

Thomas, James, Script Analysis for Actors, Directors, and Designers, 2nd ed. (Boston: Focal Press, 1999).Google Scholar

Thomas, Keith, ‘Age and Authority in Early Modern England’, Proceedings of the British Academy 62 (1976), 205–48.Google Scholar

Thomson, Leslie, ‘Antony and Cleopatra, Act 4 Scene 16: “A Heavy Sight”’, Shakespeare Survey 41 (1989), 77–90.Google Scholar

Thomson, Leslie, ‘Playgoers on the Outdoor Stages of Early Modern London’, Theatre Notebook 64.1 (2010), 3–11.Google Scholar

Tosh, Will, ‘John Marston’s What You Will, Plausible Plants and the Children of Paul’s’, in Altman, Shanyn and Buckner, Jonathan (eds.), Old St Paul’s and Culture (Cham: Palgrave Macmillan, 2021), pp. 243–65.Google Scholar

Tosh, Will, Playing Indoors: Staging Early Modern Drama in the Sam Wanamaker Playhouse (London: Bloomsbury, 2018).Google Scholar

Tourneur, Cyril, The Atheist’s Tragedie: Or The Honest Man’s Revenge (London, 1611). STC 24146.Google Scholar

Tourneur, Cyril, The Atheist’s Tragedy, ed. Irving Ribner, (Manchester University Press, 1964).Google Scholar

‘training, n.’, OED Online, Oxford University Press, March 2021 (available at https://oed.com/view/Entry/204425?rskey=Q6HOkY&result=3&isAdvanced=false#eid, last accessed 15 March 2021).Google Scholar

Trenchfield, Caleb, A Cap of Grey Hairs for a Green Head, or, The Fathers Counsel to His Son, an Apprentice in London (London, 1671). Wing T2118.Google Scholar

Tribble, Evelyn B., Cognition in the Globe: Attention and Memory in Shakespeare’s Theatre (Basingstoke: Palgrave Macmillan, 2011).Google Scholar

Tribble, Evelyn B., Early Modern Actors and Shakespeare’s Theatre: Thinking with the Body (London: Bloomsbury, 2017).Google Scholar

Tribble, Evelyn B., ‘Marlowe’s Boy Actors’, Shakespeare Bulletin 27.1 (2009), 5–17.Google Scholar

Tribble, Evelyn B., ‘Pretty and Apt: Boy Actors, Skill, and Embodiment’, in Traub, Valerie (ed.), The Oxford Handbook of Shakespeare and Embodiment: Gender, Sexuality, and Race (Oxford University Press, 2016), pp. 628–41.Google Scholar

Tribble, Evelyn B., ‘Skill’, in Turner, Henry S. (ed.), Early Modern Theatricality (Oxford University Press, 2013), pp. 173–88.Google Scholar

Tunstall, Darren, ‘Shakespeare and the Lecoq Tradition’, Shakespeare Bulletin 30.4 (2012), 469–84.Google Scholar

Turner, Henry S., ‘Generalization’, in Turner, Henry S. (ed.), Early Modern Theatricality (Oxford University Press, 2013), pp. 1–23.Google Scholar

Tusser, Thomas, Five Hundreth Points of Good Husbandry (London, 1573). STC 24375.Google Scholar

Van Es, Bart, ‘Captive Children: John Lyly, A Midsummer Night’s Dream, and Child Impressment on the Early Modern Stage’, Renaissance Studies 33.2 (2019), 166–84.Google Scholar

Van Es, Bart, Shakespeare in Company (Oxford University Press, 2013).Google Scholar

Van Es, Bart, ‘Shakespeare versus Blackfriars: Satiric Comedy, Domestic Tragedy, and the Boy Actor in Othello’, in Preiss, Richard and Williams, Deanne (eds.), Childhood, Education and the Stage in Early Modern England (Cambridge University Press, 2017), pp. 100–20.Google Scholar

Vaughan, William, The Golden-Grove Moralized in Three Bookes (London, 1600). STC 24610.Google Scholar

Vitkus, Daniel J. (ed.), Three Turk Plays from Early Modern England: ‘Selimus, Emperor of the Turks’; ‘A Christian Turned Turk’; ‘The Renegado’ (New York: Columbia University Press, 2000).Google Scholar

Wall, Wendy, Staging Domesticity: Household Work and English Identity in Early Modern Drama (Cambridge University Press, 2002).Google Scholar

Wallace, Charles William, The Children of the Chapel at Blackfriars, 1597–1603 (Lincoln: University of Nebraska Press, 1908).Google Scholar

Wallace, Charles William, The Evolution of English Drama up to Shakespeare with a History of the First Blackfriars Theatre (Berlin: Georg Reimer, 1912).Google Scholar

Wallis, Patrick, ‘Apprenticeship and Training in Premodern England’, JEH 68.3 (2008), 832–61.Google Scholar

Wallis, Patrick, ‘Apprenticeship in England’, in Prak, Maarten and Wallis, Patrick (eds.), Apprenticeship in Early Modern Europe (Cambridge University Press, 2020), pp. 247–81.Google Scholar

Wallis, Patrick, and Webb, Cliff, ‘The Education and Training of Gentry Sons in Early Modern England’, Working Papers: The London School of Economics and Political Science, Department of Economic History 128/09 (2009), 1–29 (available at eprints.lse.ac.uk/id/eprint/27958, last accessed 4 December 2020).Google Scholar

Warton, Thomas, The History of English Poetry, vol. 3 (London: Thomas Tegg, 1840).Google Scholar

Weimann, Robert, Author’s Pen and Actor’s Voice: Playing and Writing in Shakespeare’s Theatre, ed. Higbee, Helen and William, N. West (Cambridge University Press, 2000).Google Scholar

Weingust, Don, ‘Authentic Performances or Performances of Authenticity? Original Practices and the Repertory Schedule’, Shakespeare 10.4 (2014), 402–10.Google Scholar

Wesley, John, ‘Mulcaster’s Boys: Spenser, Andrewes, Kyd’ (PhD thesis, University of St Andrews, 2008).Google Scholar

West, William N., ‘Intertheatricality’, in Turner, Henry S. (ed.), Early Modern Theatricality (Oxford University Press, 2013), pp. 151–72.Google Scholar

Wickham, Glynne, Berry, Herbert, and William Ingram (eds.), English Professional Theatre, 1530–1660 (Cambridge University Press, 2000).Google Scholar

Wiggins, Martin, in association with Richardson, Catherine (eds.), British Drama 1533–1642: A Catalogue, 10 vols. (Oxford University Press, 2012–20).Google Scholar

Wiles, David, Shakespeare’s Clown: Actor and Text in the Elizabethan Playhouse (Cambridge University Press, 1987).Google Scholar

Williams, Margaret Ellen, ‘“A Play Is Not So Ydle a Thing”: The Dramatic Output and Theatre-Craft of Nathan Field’ (PhD thesis, University of Birmingham, 1990).Google Scholar

Williams, Margaret Ellen, ‘Field, Nathan (bap. 1587, d. 1619/20)’, ODNB, 23 September 2004 (available at https://doi.org/10.1093/ref:odnb/9391, last accessed 15 February 2021).Google Scholar

Wing, Donald Goddard, A Short-Title Catalogue of Books Printed in England, Scotland, Ireland, Wales, and British America and of English Books Printed in Other Countries, 1640–1700, 2nd ed., 3 vols. (New York: Modern Language Association of America, 1972–88).Google Scholar

Winkler, Amanda Eubanks, Music, Dance, and Drama in Early Modern English Schools (Cambridge University Press, 2020).Google Scholar

Witmore, Michael, Pretty Creatures: Children and Fiction in the English Renaissance (Ithaca, NY: Cornell University Press, 2007).Google Scholar

Wooster Group, ‘To You, the Birdie! (Phèdre)’, The Wooster Group, 2006 (available at http://thewoostergroup.org/to-you-the-birdie, last accessed 8 January 2021).Google Scholar

Worthen, W. B., ‘Reconstructing the Globe: Constructing Ourselves’, Shakespeare Survey 52 (1999), 33–45.Google Scholar

Worthen, W. B., Shakespeare and the Force of Modern Performance (Cambridge University Press, 2003).Google Scholar

Wright, James, Historia Histrionica: An Historical Account of the English Stage (London, 1699). Wing W3695.Google Scholar

Wright, Nicholas, Cressida (London: Nick Hern Books, 2000).Google Scholar

Wroth, Mary, The Countesse of Mountgomeries Urania (London, 1621). STC 26051.Google Scholar

Yearling, Rebecca, Ben Jonson, John Marston and Early Modern Drama: Satire and the Audience (Basingstoke: Palgrave Macmillan, 2016).Google Scholar

Zimmerman, Susan, ‘Disruptive Desire: Artifice and Indeterminacy in Jacobean Comedy’, in Zimmerman, Susan (ed.), Erotic Politics: Desire on the Renaissance Stage (London: Routledge, 1992), pp. 31–49.Google Scholar