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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