What do ”stage directions” do in early modern drama? Who or what are they directing: action on the stage, or imagination via the page? Is the label ”stage direction” helpful or misleading? Do these ”directions” provide evidence of Renaissance playhouse practice? What happens when we put them at the centre of literary close readings of early modern plays?
Stage Directions and Shakespearean Theatre investigates these problems through innovative research by a range of international experts. This collection of essays examines the creative possibilities of stage directions and and their implications for actors and audiences, readers and editors, historians and contemporary critics. Looking at the different ways stage directions make meaning, this volume provides new insights into a range of Renaissance plays.