‘On Pleasures Past, and Dangers to Ensue’: Site-Specific Violence and the Post-Renovation Rose Repertory

ABSTRACT Models of early modern English theatre-making rely on fantasies of repetition. Sixteenth- and seventeenth-century playing companies leveraged a repertory system wherein a set stable of actors performed a different playtext up to six days a week. Such repetitions make available hauntological possibilities that attach to reoccurring bodies, props, costumes, and even architecture. This article considers the repertory of plays that repeated on the stage of the Rose theatre after renovations added a roof over the stage with its attendant pillars, which afforded the Lord Strange’s, Earl of Sussex’s, and Lord Admiral’s players a new spatial, vertical dimension. In a brief post-reno period of highly regular playing, I argue that the pillars came to regularly serve as trees, arbours, and other ecological features to facilitate a character’s death. In The Battle of Alcazar, The Jew of Malta, The Massacre at Paris, The Spanish Tragedy, Titus Andronicus, and a single comedy, Friar Bacon and Friar Bungay, the pillars make possible an accretion of hauntological resonances attached to their location on the thrust. This article explores the ways in which such dramaturgical repetitions, newly available in the Rose after the 1592 renovations, would have built up returner-audiences’ associations with specific architectural features.