{"title":"Plot Illustrated","authors":"Claire M. L. Bourne","doi":"10.1093/oso/9780198848790.003.0005","DOIUrl":"https://doi.org/10.1093/oso/9780198848790.003.0005","url":null,"abstract":"Chapter 4 argues that techniques of illustrating early modern plays were designed to correspond to the effects those same plays were said to have had in performance. It studies the careful composition of custom-made woodcuts in a trio of Francis Beaumont and John Fletcher quartos: The Maid’s Tragedy (1619), A King and No King (1619), and Philaster (1620). These plays cemented Beaumont and Fletcher’s widely acknowledged reputation for creating a pleasurable sense of not-knowing for playgoers through clever plotting. The title-page images present seemingly contradictory but equally viable forecasts of the plays’ endings and enhance readerly uncertainty through visual paradox. By contrast, the engravings made for the 1711 edition of Beaumont and Fletcher’s Works depicted single, isolated moments. In step with the resurgence of neoclassical principles of dramatic decorum in the late seventeenth century, these engravings attempted to unify readers’ attention where the earlier woodcuts had sought to confuse it to pleasing effect.","PeriodicalId":368595,"journal":{"name":"Typographies of Performance in Early Modern England","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121311278","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Making a Scene","authors":"Claire M. L. Bourne","doi":"10.1093/oso/9780198848790.003.0004","DOIUrl":"https://doi.org/10.1093/oso/9780198848790.003.0004","url":null,"abstract":"Chapter 3 shows how typography responded to the increasing formal complexity of vernacular plays. The central case study is the printer-publisher Richard Jones’s octavo of Tamburlaine the Great (1590). Jones used numbered scene headings to carve the plays into discrete units of action and tease out their episodic dramaturgy for readers. In particular, he removed divisions where characters are described as clearing the stage to “enter to the battle.” The absence of divisions at these moments in a playbook with an unusually full complement of divisions anticipated the treatment of numbered scene divisions in other plays that, like Tamburlaine, were styled as “histories.” The kinesis and noise of battle sequences invited the continuity of audience focus, not rupture. This typographic mediation of the iterative, “rotating door” strategy of staging battle scenes with limited resources exposes “the scene” as a shape-shifting entity of dramatic form.","PeriodicalId":368595,"journal":{"name":"Typographies of Performance in Early Modern England","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121994147","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Scene Changes","authors":"Claire M. L. Bourne","doi":"10.1093/oso/9780198848790.003.0006","DOIUrl":"https://doi.org/10.1093/oso/9780198848790.003.0006","url":null,"abstract":"Chapter 5 studies the impact of moveable scenes on playbook typography. Play quartos published after 1660 began to use pared-down “place-markers” that simply named the place for readers to “mark” (that is, acknowledge) where the action was situated. Focusing on a series of debates between Dryden and fellow playwrights, this chapter shows how Dryden’s preference for place-markers, which effectively untethered the act of reading from the material contingencies of theatrical performance, eventually won out over more elaborate accounts of scenery. The combination of a single generic place-marker at the beginning of the book and specific place-markers throughout became so prevalent in printed plays that Rowe used them in Shakespeare’s Works (1709) to harness the frequent geographical shifts in plays like Antony and Cleopatra. The strategy solved part of the problem of Shakespeare’s so-called flagrant disregard for dramatic decorum and helped to reframe his reputation as the English heir to a classical tradition.","PeriodicalId":368595,"journal":{"name":"Typographies of Performance in Early Modern England","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124223701","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}