Focusing on the practical means and media of Shakespeare's stage, this study envisions horizons for his achievement in the theatre. Bridging the gap between today's page- and stage-centred interpretations, two renowned Shakespeareans demonstrate the artful means by which Shakespeare responded to the competing claims of acting and writing in the Elizabethan era. They examine how the playwright explored issues of performance through the resonant trio of clown, fool and cross-dressed boy actor. Like this trio, his deepest and most captivating characters often attain their power through the highly performative mode of 'personation' – through playing the character as an open secret. Surveying the whole of the playwright's career in the theatre, Shakespeare and the Power of Performance offers not only compelling ways of approaching the relation of performance and print in Shakespeare's works, but also new models for understanding dramatic character itself.

Douglas Bruster's provocative study of English Renaissance drama explores its links with Elizabethan and Jacobean economy and society, looking at the status of playwrights such as Shakespeare and the establishment of commercial theatres. He identifies in the drama a materialist vision which has its origins in the climate of uncertainty engendered by the rapidly expanding economy of London. His examples range from the economic importance of cuckoldry to the role of stage props as commodities, and the commercial significance of the Troy story in Shakespeare's Troilus and Cressida, and he offers new ways of reading English Renaissance drama, by returning the theatre and the plays performed there, to its basis in the material world.

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Abstract. This paper explores the implications of Ants Oras's Pause Patterns in Elizabethan and Jacobean Drama: An Experiment in Prosody (Oras 1960) for the chronology and authorship of plays in early modern England. Oras's brief monograph has been noticed by a relatively few scholars, mainly those interested in changes to Shakespeare's pentameter line. Recent developments in the field, however, have rendered his data newly attractive. Compiled by hand, Oras's figures on the punctuated pauses in pentameter verse offer computational approaches a wealth of information by which writers' stylistic profiles and changes can be measured. Oras's data for a large number of playwrights and poets, as well as his methodology generally, may prove instrumental in constructing a portrait of the aesthetic environment for writers of pentameter verse during the sixteenth and seventeenth centuries in England. In particular, pause percentages may lend context to our attributions of texts of uncertain authorship. A hypothetical chronology is offered for Shakespeare's earliest writing, including his contributions to Arden of Faversham, 1 Henry VI, and Edward III.