Index
Abington, Frances, 126–27, 128, 145 Artaud, Antonin, 220n. 77
action force, and distinction between audience. See spectators
subject and object, 9–10 Augier, Émile, 169
actors: and arrival of actresses on Austin, Gayle, 199
Restoration stage, 119–20, 233n. 4; autonomy, and manipulation of stage
and fan on Restoration stage, objects, 24
163–64; position of, in Restoration Avigal, Shoshana, 7, 10
society, 236–37n. 31, 237n. 38,
238n. 45; and semiotics of actresses Bale, John, 63, 73
on Restoration stage, 127, 129–36; Barrow, William, 46
and skull in Jacobean theater, 114 Barry, Elizabeth, 138, 140, 142–43,
Addison, Joseph, 28, 124–27, 159–60, 207n. 24, 239n. 57, 239–40nn.
161–62, 163, 164, 233n. 8 62–63
Aelred of Rievaulx, 35, 38 Bartholemew Fair ( Jonson, 1614), 113
Agnes of God (Pielmeier, 1982), 88 Barton, Anne, 95, 97
Alchemist, The ( Jonson, 1610), 13, 28 Bath Unmask’d, The (Odingsells, 1725),
alienation, and property in Jacobean 150–57, 240nn. 70, 72
society, 113–14 Beau Defeated, The (Pix, 1700), 135
Alleyn, Edward, 63–64 Beck, Julian, 52
Alter, Jean, 16, 209n. 50 Beckett, Samuel, 15, 22, 27, 171,
Amalarius, bishop of Metz, 36 183–91, 201, 202, 241n. 84, 245n.
Ambassadors, The (Holbein), 93–95, 37, 246n. 47
99, 100, 105, 108 Beckwith, Sarah, 49, 219n. 55
Amossy, Ruth, 207n. 27 Behn, Aphra, 131, 143, 233n. 7
anamorphosis, and skull as prop, Bennett, Benjamin K., 183, 245n. 37
92–95, 96, 99, 102, 111, 112–13, Bergman, Ingmar, 182, 244n. 24
115 Betterton, Thomas, 12, 138
Arden, John, 24 Bevington, David, 39, 44, 66, 70, 218n.
Ariès, Philippe, 229n. 12 47
Aristotle, v blood: and cloth as sacred symbol,
Armstrong, Nancy, 232n. 1, 234n. 11 69–70; and handkerchief as prop in
art: Ibsen and expressionist, 175; and The Spanish Tragedy, 76–88
iconography of skull in Jacobean Boaden, James, 126
England, 93–95, 99, 100, 105, 108; body, as prop, 211n. 66
and women in Elizabethan and Bogatryev, Petr, 7–8, 206n. 15
Jacobean periods, 231n. 44 Bond, Edward, 210n. 59
269
Index
Bracegirdle, Anne, 130–31, 241n. 75 Clement V, Pope, 34
Brecht, Bertolt, 19, 220n. 77, 248n. 71 Clive, Kitty, 145
Brook, Peter, 52–53, 54 closure, and guns as props on modern
Brosses, Charles de, 212n. 79 stage, 168–70, 192–93
Bullock, Jane Rogers, 152, 157, 158, cloths, as religious symbols in
240–41nn. 73–75 medieval theater, 65–72. See also
Bullock, William, 145, 148 handkerchief
Bullock, William (son of William Bul- Cluchey, Rick, 27
lock), 158 Coddin, Karin S., 231–32n. 47
Buried Child (Shepard, 1978), 200 Colie, Rosalie, 94
Bynum, Caroline Walker, 218n. 52 Conduct of Life, The (Fornes, 1985),
192, 247n. 69
Caird, John, 90 Congreve, William, 130–31, 150
Cairncross, Andrew S., 224n. 55 connotation, semiotics of props and
Callow, Simon, 134–35 levels of, 10
Calvin, John, 50, 51, 74, 219n. 59 contextual reanimation, and produc-
Capricious Lovers, The (Lloyd, 1765), tion analysis, 4, 6
135–36 Contractor, The (Storey, 1969), 22,
Careless Husband, The (Cibber, 1704), 212n. 74
127, 128 Conway, Glenda, 96–97, 108, 112
Carlson, Marvin, viii, 3, 63–64, 205n. Corpus Christi, and Passion plays, 34,
4, 209n. 43 62–63, 67–68, 70–72, 80, 84, 214n.
case studies: as approach to production 11
analysis, 3–6; and semiotic role of Coryate, Thomas, 234n. 15
props in theatrical representation, Cowboy Mouth (Shepard, 1971), 191
viii–ix Croxton Play of the Sacrament (ca.
characterization: and skull on Renais- 1461): and eucharistic wafer as
sance stage, 115; and stage functions prop, 32, 42–49, 50, 61, 171; props
of props, 21–22 and confounding of dramatic con-
Charles II, king of England, 117, 233n. ventions in, 28; and religious atti-
5 tudes or beliefs, 217nn. 39–40
Chaste Maid in Cheapside, A (Middle- cultural symbols: and materialism vs.
ton, 1613), 113 the material in props, 16–19; and
Chaudhuri, Una, 247n. 64, 247–48n. semiotic role of props in theatrical
70 representation, x–xi
Chekhov, Anton, 8, 25, 167, 170, Cutts, Cecilia, 42–43
187–88, 209n. 52, 247n. 64, 248n.
75 Dancing at Lughnasa (Friel, 1990), 27
Cherry Orchard, The (Chekhov, Dangerous Corner (Priestley, 1932),
1903–4), 188, 190 170
Chettle, Henry, 227n. 72 Davidson, Clifford, 69, 70, 222n. 25
Cibber, Colley, 127, 129, 130–31, Davies, Horton, 219n. 59
134–35. See also The Careless Hus- Davis, Moll, 130
band Dawson, Anthony B., 56–57
Cima, Gail Gibson, 247n. 65 death. See mortality; suicide
270
Index
Death of a Salesman (Miller, 1949), 2 to, 171; and image of Host in
deconstruction, and skull as metaphor medieval drama, 31–33; and liturgi-
in Hamlet, 97 cal drama, 39–42; as stage property,
defamiliarization, and stage functions 42–49; and staging of Mass, 33–39;
of props, 25–26, 245n. 42 theological debate over status of,
Grazia, Margreta de, vii, 228n. 10, 50–60. See also religious symbols
232n. 49 Evans, Edith, 127
Dekker, Thomas, 92, 100–107, 115
de Man, Paul, 232n. 48 fans, and stage functions of props in
dematerialization, and de‹nition of Restoration and early-eighteenth-
stage objects, 14. See also rematerial- century theater, 117–65
ization farce, and plot functions of props,
Diamond, Elin, 211n. 65 23
Diehl, Huston, 73–74, 85–86, 224n. Farquhar, George, 145–50, 163. See
48, 226n. 70 also The Twin Rivals
dislocated function, and de‹nition of Fefu and Her Friends (Fornes, 1977),
props, 12–14 172, 191–200, 201–2
Dissembled Wanton; or, My Son Get femininity, and actresses on Restora-
Money, The (Welsted, 1726), 157–63 tion stage, 120, 135. See also gender;
Doctor Faustus (Marlowe, ca. sexuality
1588–89), 59 feminism and feminist scholarship:
Doll’s House, A (Ibsen, 1879), 173 and actresses on Restoration stage,
Douglas, Mary, 22 131, 132; play of predictability and
dramatic conventions, and stage func- transformative dramaturgy of, 172.
tions of props, 28 See also patriarchy; women
Dream Play, A (Strindberg, 1902), Fences (Wilson, 1985), 2–3
23–24 Ferguson, Margaret W., 230n. 31
Dugmore, C. W., 220n. 71 fetishes: and fan as prop on Restora-
Durfey, Thomas, 123 tion stage, 145–50; and handker-
Duvelleroy, M. J., 123–24 chiefs as religious symbols, 74, 85,
87; and stage functions of props,
Eco, Umberto, 7, 10, 207n. 27, 210n. 26–27; use of term, 212n. 79
60 Finke, Laurie A., 109, 231n. 44
Egypt, sacred objects in ancient, 33 Finney, Gail, 244n. 26
Elam, Keir, 7, 21 First Part of Hieronimo, The (Kyd,
Eleuthéria (Beckett, 1947), 188 1605), 76–79
Empson, William, 229n. 23 Fischer-Lichte, Erika, 208n. 34
Endgame (Beckett, 1957), viii, 61 Fiske, Minnie Maddern, 177
Ethelwold, St., bishop of Winchester, Flory, M. A., 234n. 11
39, 65, 66 Foreman, Richard, 24
Etherege, George, 123, 136–45, 162, Fornes, Maria Irene, 170, 172,
163, 164 191–200, 201–2, 243n. 16, 247n.
eucharistic wafer (oble): and concept 69, 248nn. 72, 74–76
of symbolism in Middle Ages, Foxe, John, 74
216–17n. 37; gun as prop compared Fraser, Russell A., 34, 59
271
Index
Freud, Sigmund, 212n. 80, 227n. 2 Hansberry, Lorraine, 2, 241n. 81
Friel, Brian, 27 Happy Days (Beckett, 1961), 22, 171,
Frith, John, 55, 219n. 56 183–91, 201, 202, 241n. 84
Frye, Roland Mushat, 91–92, Hardison, O. B., 35, 41, 216n. 33,
227–28nn. 4–5 222n. 20
Funeral; or, Grief A-la-Mode, The Hare, Arnold, 130
(Steele, 1701), 122–23 Harris, Jonathan Gil, 17
haunted mediums, and stage functions
Garber, Marjorie, 94–95, 112, 230n. 32 of props, 27–28
Garner, Stanton B., Jr., vii, 15–16, 22, Hebbel, Friedrich, 169
211n. 65, 246n. 56 Hedda Gabler (Ibsen, 1890), and gun
Garrick, David, 126, 145 as prop, 167, 172, 173–86, 189, 190,
Gay, John, 118–19, 125 201, 202
gaze, control of, in Restoration theater, Henshaw, Nancy Wandalie, 235n. 20,
158 239n. 59
Gellert, Bridget, 91 heresy. See Lollards and Lollardy
gender, fans on Restoration stage and Higonnet, Margaret, 242–43n. 7
performance of, 145, 150–57. See historical context: of case studies on
also femininity; sexuality; women role of props in theatrical represen-
Genet, Jean, 26 tation, xii; cultural materialism and
ghosting: concept of theatrical, 3, stage objects, 18; handkerchief as
63–64, 205n. 4; and Elizabethan prop on Restoration stage compared
playwrights, 221n. 8 to Georgian theater, 227n. 73; and
Gibson, Gail McMurray, 47, 217n. 38 reconstruction of performance prac-
Gildon, Charles, 124 tice, 120–21; and reconstruction of
Gimenez, Sylvia, 231n. 43 spectator, 211n. 65
Gomersall, Robert, 92 Hitchcock, Alfred, 23, 229n. 21
Gontarski, S. E., 245n. 44 Hogarth, William, 121–22
Grantley, Darryll, 217n. 38, 218n. 49 Holbein, Hans, 93–94, 99, 100, 105,
Greenblatt, Stephen, 17, 51, 65, 85, 94, 108
226nn. 68, 71 Holland, Peter, 121, 237n. 31,
Gregory I, Pope, 35–36 237–38n. 42
guns, and stage functions of props on Homan, Richard L., 218n. 47
modern stage, 167–202. See also Homecoming, The (Pinter, 1965),
weapons 26
Gwyn, Nell, 129, 130, 131 Honest Whore, The, Part I (Dekker,
1604), and skull as prop, 92,
Hamlet (Shakespeare): fencing match 100–107, 115
^
and distinction between mimesis Honzl, Jindrich, 9, 21, 219n. 60, 220n.
and kinesis in, 207n. 25; and skull 75
as prop, 1–2, 90–93, 95–100, 102–7, Hooker, Richard, 55, 56, 220n. 71
108–9, 115 Host. See eucharistic wafer
handkerchief, and stage functions of Houston, Julia, 38, 52, 216n. 29
props in Elizabethan theater, 61–88, Howe, Elizabeth, 131, 236n. 27,
89–90, 225–27nn. 57–73 236–37n. 31, 241n. 75
272
Index
Hume, Robert D., 4–5, 205–6n. 7 Kyd, Thomas, 62, 69, 75, 76–79, 89.
Hutchings, William, 212n. 74 See also The Spanish Tragedy
Ibsen, Henrik, 167, 172, 173–86, 189, Lacan, Jacques, 229n. 16
190, 201, 202, 247n. 64 Lady from the Sea, The (Ibsen, 1888),
iconography: of fan on Restoration 173
stage, 121–22; of skull in Jacobean Lady Windermere’s Fan (Wilde, 1892),
England, 93–95. See also anamor- 21–22, 25, 164, 241n. 81
phosis Lamb, Charles, vi
ideology: actresses on Restoration language, and fan as prop, 121–27
stage and issues of gender and sexu- Last Action Hero, The (‹lm), 90
ality, 131–32; and materialist analy- Lee, Mary, 239n. 57
sis of stage objects, 18, 19, 209–10n. Lee, Nathaniel, 207n. 25
53; and semiotics of stage objects, lexeme, and semiotics of stage objects,
10. See also property 10–11
idolatry, and religious symbols in Eliz- Lie of the Mind, A (Shepard, 1985), 200
abethan drama, 73, 87, 224n. 44 Living Theater, 52
Importance of Being Earnest, The Lloyd, Robert, 135–36
(Wilde, 1895), 13, 141 Lollards and Lollardy, 39, 46, 75,
Inconstant; or, The Way to Win Him, 217nn. 39–40
The (Farquhar, 1702), 145–50, 163, Love for Money (Durfey, 1691), 123
240n. 65 Love’s Last Shift (Cibber, 1696),
irony, and guns as props, 182, 190–91 134–35
Lucerne Passion play, 68
James, Henry, 175 Lupton, Julia, 226n. 71
John Bull’s Other Ireland (Shaw, 1904), Luther, Martin, 50–51, 53, 55, 57
61 Lyons, Charles, 181
Jones, Sarah, 23
Jonson, Ben, 13, 28, 221n. 8. See also Macbeth (Shakespeare), 100
Bartholemew Fair Mackie, Erin, 158, 241n. 77
Jumpers (Stoppard, 1972), 170 Madonna (pop singer), 143
magic, and handkerchief as prop, 77,
Kamps, Ivo, 209–10n. 53 78, 87, 89–90, 212n. 71, 224n. 48
Kenny, Shirley Strum, 240n. 65 Maids, The (Genet, 1947), 26
Kermode, Frank, 167 Malina, Judith, 52
Kernan, Alvin, 221n. 5 Maltman, Sister Nicholas, 218n. 47
Keyssar, Helen, 199 manipulation, and distinction between
Kiberd, Declan, 61 props and stage objects, 12
King Hedley II (Wilson, 1999), 2–3 Man of Mode, The (Etherege, 1667),
Kirby, Michael, 209n. 51 123, 136–45, 162, 163, 164
Knowlson, James, 187 Maria Magdalene (Hebbel, 1843), 169
Kolve, V. A., 214n. 10 Marks, Peter, 169
Korda, Natasha, 17 Marlowe, Christopher, 59
Kowzan, Tadeusz, 8, 10 Marx, Karl, 212n. 80
Krapp’s Last Tape (Beckett, 1958), 27 Maslen, Elizabeth, 91
273
Index
Mass: parody of, in The Spanish motivation, and stage functions of
Tragedy, 84–85, 86; sacred objects props, 23
and staging of, 33–39. See also Motteux, Peter Anthony, 239n. 59
Roman Catholic Church Mud (Fornes, 1983), 192
Massinger, Philip, 229n. 12 Mulryne, J. M., 224nn. 55–56
materialism: and consumption of the- Munch, Edvard, 175
atrical objects, 210n. 59; and ideol- Murphy, Arthur, 126
ogy in criticism, 18, 19, 209–10n.
53; and props as cultural symbols, Neill, Michael, 230n. 27
16–19 ’night, Mother (Norman, 1982), 168,
Maus, Katharine Eisaman, 237nn. 32, 170, 191
38 Night of the Iguana, The (Williams,
McAuley, Gay, 24, 207n. 26, 208n. 35, 1961), 24
208–9n. 39, 211n. 66 Norman, Marsha, 168, 170, 191
McFarlane, James, 243n. 18 N-Town Passion Play, 49, 68, 70
melodrama, guns as props in nine-
teenth-century, 169 objects: distinction between prop and,
memento mori. See skull 208n. 35, 208–9n. 39; and fan as
Merchant of Venice, The (Shakespeare), prop, 164; and psychoanalytic criti-
22 cism, 206n. 9; and skull as prop, 90,
Merry Wives of Windsor, The (Shake- 92; and subject as theatrical sign,
speare), 113 6–11. See also subjectivity
metaphor: and skull as prop in Hamlet, oble. See eucharistic wafer
95–100; and stage functions of O’Connell, Michael, 72–73, 224n. 44
props, 21–22 Odingsells, Gabriel, 150–57, 240nn.
metonymy, and metaphor as function 70, 72
of props, 21–22 Old‹eld, Anne, 129
Middleton, Thomas, 206n. 14. See also Olympe’s Marriage (Augier, 1855), 169
A Chaste Maid in Cheapside Orlin, Lena Cowen, vii, 16
Milhous, Judith, 4–5, 205–6n. 7 ostranenie, formalist concept of, 13
Miller, Arthur, 2 Othello (Shakespeare): and fetishized
Miller, Jonathan, 3 props, 26; and handkerchief as prop,
miracle plays: and circumstances of viii, 18, 62, 89, 212n. 71, 220n. 79;
production, 218n. 49; and eucharis- props and characterization in, 21,
tic wafer as prop, 32, 214n. 10. 22; props and confounding of dra-
See also Croxton Play of the matic conventions in, 28
Sacrament
Miss Julie (Strindberg, 1888), 27, 243n. paganism, and Christianity in The
13 Spanish Tragedy, 84
Moroff, Diane Lynn, 194 painting. See art
Morris, Harry, 91 Passion plays. See Corpus Christi
mortality, guns and skulls as emblems patriarchy, and guns as props in Fefu,
of, 171. See also suicide 192, 193, 195, 198, 199
Morton, Thomas, 165 Peck, James, 210n. 59
motion, as de‹ning feature of props, vi Pepys, Samuel, 129, 233n. 4
274
Index
Peregrinus play (Beauvais), 40–42 guns on modern stage, 167–202; and
performance: analogy between Angli- handkerchief in Elizabethan drama,
can Eucharist and bodily, 56; cen- 61–88; motion as de‹ning feature of,
trality of props to, v–vi; and ef‹gy, vi; performance dimensions of, 2–3;
213n. 83, 226n. 66; and production and performing objects, 211n. 67;
analysis, 5; reconstruction of histori- production analysis and case study
cal practices of, 120–21; use of term, approach, 3–6; and property-man or
204n. 1 property player, 216n. 28; and psy-
Perkins, William, 223n. 41 choanalytic criticism, 206n. 9; and
personi‹cation, props and theatrical rematerialization, 11–16; in schol-
phenomenon of, 27 arly literature, vi–vii; and skull in
Pevitts, Beverly Byers, 199 Jacobean theater, 89–115; stage
phallic symbols, and guns as props, functions of, vii–xiii, 20–29; tempo-
185, 243n. 18 ral contract and religious symbols in
phenomenology: and reconstruction of medieval theater, 31–60
historical spectator, 211n. 65; and Proschan, Frank, 20, 211n. 67
religious symbols in theater, 54; and Protestant Reformation: and staging of
theater semiotics, 59–60 Mass, 38; and theatrical link
Piano Lesson, The (Wilson, 1987), between holy cloth and sacred
27 blood, 72–75; and theological debate
Pielmeier, John, 88 on communion, 50. See also
Pinero, Arthur Wing, 169 Wycliffe, John
Pinter, Harold, 26 Provoked Wife, The (Vanbrugh, 1697),
Pix, Mary, 135 126
Play of the Death and Burial (Corpus
Christi), 70, 80 Quem quaeritis (liturgical drama), 39
Play of the Resurrection (Corpus Quilligan, Maureen, vii, 228n. 10
Christi), 70–71
power, and control of gaze in Restora- Raisin in the Sun, A (Hansberry, 1959),
tion theater, 158 2, 241n. 81
Prague linguistic circle, and semiotics, Real Inspector Hound, The (Stoppard,
vi–vii, 6–11, 14 1968), 22
Priestley, J. B., 170 realism, and guns as props on modern
production analysis: and audience stage, 173–74, 185, 194, 197,
diversity, 205–6n. 7; and case study 199–200, 245n. 37
approach, 3–6 Regularis Concordia. See Visitatio Sepul-
property, meaning of, in Jacobean soci- chri
ety and theater, 113–15, 232n. 49 Reid-Schwartz, Alexandra, 219n. 55
props: centrality of, to performance, religious symbols: and cloth in
v–vi; cultural symbols and material- medieval heritage, 65–72; in Eliza-
ism, 16–19; de‹nition of, 1, 11, 20, bethan drama, 62–65; and prop as
31, 208n. 36; distinction between set temporal contract in medieval the-
pieces, costumes, and, 208n. 34; and ater, 31–60; Protestant Reformation
fans in Restoration and early-eigh- and handkerchief as sacred symbol,
teenth-century theater, 117–65; and 72–75; and semiotic role of props in
275
Index
religious symbols: and cloth Scowrers, The (Shadwell, 1690), 123
(continued) Seagull, The (Chekhov, 1896), 8, 25,
theatrical representation, ix–x. See 248n. 75
also eucharistic wafer; Mass; pagan- Second Mrs. Tanqueray, The (Pinero,
ism; Protestant Reformation; Roman 1893), 169
Catholic Church; theology Seduced (Shepard, 1978), 191
rematerialization, of stage objects, semiotics: and actresses on Restoration
11–16 stage, 127, 129–36; and distinction
Revenger’s Tragedy, The (Tourneur), between object and subject, 14; and
85, 92, 107–15 phenomenology of theater, 59–60;
Rhead, G. Woolliscroft, 123–24, and Prague linguistic circle, 6–11;
126 and process of ostension or semioti-
Richard II (Shakespeare), 26, 113 zation, 7, 245n. 42; Protestantism
Richards, Sandra, 237n. 34 and crisis of, 75; and role of props in
Richardson, Brian, 242n. 4 theatrical representation, viii–ix
Rimmon-Kenan, Shlomith, 10 Seneca, 72
Roach, Joseph, 27, 213n. 83, 226n. 66 Serjeant Musgrave’s Dance (Arden,
Road to Calvary (Corpus Christi 1959), 24–25
pageant), 67, 68–69 sexuality: and fans as props in Restora-
Roberts, J., 126 tion and early-eighteenth-century
Robins, Elizabeth, 177 theater, 117–65; and handkerchief
Rogers, Jane. See Bullock, Jane Rogers as prop in The Spanish Tragedy, 77,
Rokem, Freddie, 14–15 78–79; homosexuality and coded
Roman Catholic Church: and liturgical symbols of, 212n. 79
drama, 39–42; and staging of Mass, Seyler, Athene, 133–34
33–39. See also eucharistic wafer Shadwell, Thomas, 123
Rosencrantz and Guildenstern Are Dead Shakespeare, William, 26, 91–92, 100,
(Stoppard, 1966), 25 203n. 4, 207n. 25, 212n. 71, 225nn.
Rosenthal, Angela, 121–22, 158, 234n. 60, 71. See also Hamlet; The Mer-
15 chant of Venice; The Merry Wives of
Rosmersholm (Ibsen, 1886), 173 Windsor; Othello; Richard II; Twelfth
Rover, The (Behn, 1677), 143 Night
Rubin, Miri, 215n. 22, 218n. 52 Shapiro, James, 226n. 70
Russell, Douglas A., 233n. 8 Shaw, George Bernard, 61, 169–70
Russell, William, bishop of Sodor, 38 Shepard, Sam, 170, 191, 200, 246n. 48
Ryan, Lacy, 153, 155 Sheridan, Richard Brinsley, 126–27,
Ryle, Gilbert, 125, 235n. 22 241n. 82
Shklovsky, Victor, 245n. 42
Salomon, Brownell, 208n. 36 skull: and gun as prop in modern the-
Sarita (Fornes, 1984), 192 ater, 171; as prop in Hamlet, 1–2,
Savran, David, 192–93 90–91; and stage functions of props
Schlueter, June, 168, 202 in Jacobean theater, 89–115
Schmidt, Henry J., 168–69 Smith, Emma, 224n. 55
School for Scandal, The (Sheridan, Sokolowski, Robert, 216–17n. 37
1777), 126–27, 241n. 82 Sontag, Susan, 200
276
Index
Space Jam (‹lm), 90 stage, 169, 174, 178–79, 181–83,
Spanish Tragedy, The (Kyd, 1587–92): 187–88, 201, 242–43n. 7, 248n. 74
and handkerchief as prop, 62, 64, surrealism: and defamiliarization of
76–88, 89, 225–27nn. 57–73; props stage objects, 25–26; and guns as
and confounding of dramatic con- props on modern stage, 199–200,
ventions in, 28 246n. 47
spatial dimension, of props, 2 surrogation, and haunted medium,
spectacle, and Aristotle on elements of 27–28
tragedy, v Suzman, Janet, 176
Spectator, The (magazine), 28, 124–27 symbols, and stage functions of props,
spectators: and metrical experience of 24–25. See also cultural symbols;
performance, 168; production analy- religious symbols
sis and diversity of, 205–6n. 7; and
prop as temporal contract, 14, 20, Tarlton, Richard, 114
58; props and imagination of, 61; Teague, Frances, 12–14, 208–9n. 39,
reaction of Elizabethan, to The Span- 209n. 42
ish Tragedy, 87–88; reconstruction Templeton, Joan, 242n. 7
of historical, 211n. 65; use of term, temporal contract: de‹nition of, 14,
204n. 1 20; and religious symbols as props
Speed the Plough (Morton, 1800), 165 in medieval theater, 31–60
Spencer, Theodore, 102 temporal dimension: and guns as
Spinrad, Phoebe, 92–93, 101, 106, 112, props on modern stage, 167–202;
228n. 4, 228–29n. 12, 231n. 38 and stage functions of props, 2; and
Sponsler, Claire, 210n. 59 stage time vs. clock time, 242n. 4
Stallybrass, Peter, vii, 17, 115, 228n. theology, and debate over status of
10 eucharistic wafer, 50–60. See also
States, Bert O., vii, 15, 19, 53–54, Lollards and Lollardy; paganism;
54–55, 56, 184 Protestant Reformation; religious
Steele, Richard, 122–23 symbols; Roman Catholic Church;
Stoppard, Tom, 22, 25, 170 Wycliffe, John; Zwingli, Huldrych
Storey, David, 22 Thomas, David, 130, 235n. 18,
Stow, John, 221n. 9 235–36n. 25
Straub, Kristina, 131–32 Tillis, Steve, 20, 207n. 24
Streetcar Named Desire, A (Williams, Tooth of Crime, The (Shepard, 1972),
1947), 170, 243n. 13 170
Strindberg, August, 23–24, 27, 243n. Tourneur, Cyril. See The Revenger’s
13 Tragedy
Styan, J. L., 66, 80, 124, 133, 141, Towle, Matthew, 235n. 19
225n. 61, 238–39n. 56 Tragedy of Lodovick Sforza, The (Gom-
subjectivity: and fan as prop, 164; and ersall, 1628), 92–93
semiotics of stage objects, 10; and transformational puppets, and stage
skull as prop, 90, 92. See also objects function of props, 23–24
Suddenly Last Summer (Williams, Tretise of Miraclis Pleyinge (ca.
1958), 59 1380–1425), 42, 69
suicide, and guns as props on modern Triggs, Jeffrey Alan, 91, 97, 101
277
Index
Trussler, Simon, 164 Williams, Tennessee, 24, 59, 170, 200,
Twelfth Night (Shakespeare), 113 243n. 13
Twin Rivals, The (Farquhar, 1777), 126 Wilmot, John, earl of Rochester, 138,
Tydeman, William, 47 143
Wilson, August, 2, 27
Ubersfeld, Anne, 7, 11 Wilson, John Harold, 130, 239n. 57
Uncle Vanya (Chekhov, 1897), 188 Wilson, Robert, 24
Winnicott, D. W., 12, 206n. 9
Vanbrugh, John, 126
^ Witkiewicz, Stanislaw Ignacy, 248n. 76
Veltruský, Jirí, 9–10, 23, 24, 207n. 26 Wittgenstein, Ludwig, 28–29
Verbruggen, Susanna, 145, 148 Wol‹t, Sir Donald, 27
Veronica cloth, 67–69 women: community of, in Fefu, 193,
Visitatio Sepulchri, viii, 39–40, 65–67, 246n. 56; and concept of property in
222n. 20 Jacobean England, 113; in Eliza-
visual shorthand, and stage functions bethan and Jacobean art, 231n. 44;
of props, 20–21 and guns as props in modern the-
ater, 169; role of, in Restoration
Waiting for Godot (Beckett, 1953), 188, society, 130, 238n. 54. See also
190, 191 actors; femininity; feminism and
Wake‹eld Scourging, 70 feminist scholarship; gender; patri-
Walker, Thomas, 152 archy; sexuality
Wallace, Beth Kowaleski, 132 Women Can’t Wait ( Jones), 23
Wasson, John M., 47, 216n. 26 Woolf, Rosemary, 221–22n. 13, 222n.
Watson, Robert N., 226n. 66 22
Way of the World, The (Congreve, Worthen, W. B., 17, 193–94, 210n. 59
1700), 130–31, 150 Wycliffe, John, and Wyclif‹an theol-
weapons, and fan in Restoration the- ogy, 38, 43
ater, 123, 160–61, 162. See also guns
Webster, John, 243n. 12. See also The Yachnin, Paul, 17, 18
White Devil York Birth of Jesus, 55
Welsted, Leonard, 157–63 Young, Karl, 41–42
White, Paul Whit‹eld, 73
White Devil, The (Webster, 1612), 113 Zinman, Toby Silverman, 199–200,
Wilde, Oscar, 21–22, 25, 164, 241n. 248n. 74
81. See also The Importance of Being Zwingli, Huldrych, and Zwinglian the-
Earnest ology, 50, 51, 54, 57, 59, 219n. 59
278