At the start of the seventeenth century a distinction emerged
between 'public', outdoor, amphitheatre playhouses and 'private',
indoor, hall venues. This book is the first sustained attempt to
ask: why? Theatre historians have long acknowledged these terms,
but have failed to attest to their variety and complexity.
Assessing a range of evidence, from the start of the Elizabethan
period to the beginning of the Restoration, the book overturns
received scholarly wisdom to reach new insights into the politics
of theatre culture and playbook publication. Standard accounts of
the 'public' and 'private' theatres have either ignored the terms,
or offered insubstantial explanations for their use. This book
opens up the rich range of meanings made available by these vitally
important terms and offers a fresh perspective on the way
dramatists, theatre owners, booksellers, and legislators, conceived
the playhouses of Renaissance London.
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