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The Place of the Stage: License, Play, and Power in Renaissance England,Used
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From Library JournalThe drama is the most social of the arts, depending upon physical space, audience, and social factors for its existence. It is no surprise, therefore, that the most successful criticism approaches theater the way Barber and Mullaney do: as historical artifact. Barber is the better known, having authored the classic Shakespeare's Festive Comedy (1959); the present volume is based on his papers and examines three early Elizabethan tragedies"Tamburlaine" and "Dr. Faustus" by Marlowe and "The Spanish Tragedy" by Kyd. Particularly interested in locating these plays in the unstable religious atmosphere of the late 16th century, Barber ably demonstrates his understanding of the social, historical, and economic factors that defined the era. Mullaney takes the novel approach of examining the theater in light of London topography; the title thus refers to the physical location of the playhouses as well as the social importance of the theater. Mullaney points out that the prejudice that forced the great theaters of the age to operate outside the city walls encouraged a drama that was radical and iconoclastichence its greatness. Mullaney's argument is fascinating and thoughtprovoking, convincingly presented. James Stephenson, Catholic Univ., Washington, D.C.Copyright 1987 Reed Business Information, Inc.
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