Titlebook: London in Early Modern English Drama; Representing the Bui Darryll Grantley Book 2008 Palgrave Macmillan, a division of Macmillan Publisher

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Jacobean Drama,ll). The second section of the play is principally about the construction of a great London institution, the Royal Exchange, and the man who built it, the City merchant Sir Thomas Gresham. Gresham conceives of the project after observing with some dismay that merchants in London have to meet in the open air in Lombard Street in order to trade:

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Introduction, change in its subject matter and preoccupations, which showed an increasing awareness from the late sixteenth century onwards of the new commercial theatre’s own urban location and the urban audience that had become its principal constituency. This investigation will be into the various ways in whi

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Late Elizabethan Drama, Thomas Kyd, Thomas Lodge, Anthony Munday and George Peele. Whether immigrants to the metropolis (as a large percentage of London’s population were) or native to it, these writers would all have been exposed to a dynamic and evolving urban culture that was becoming ever more self-aware as time went

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Caroline Drama, private theatres, specifically the Cockpit which accounted for more plays of known auspices than all other theatres put together from 1624, and the Salisbury Court. The Fortune and the Red Bull were the only public theatres apart from the Globe, and they accounted for a small fraction of new plays.

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Conclusion,al’s power and wealth, and an increasing evocation of its material geography. Jacobean theatre begins in turn to disavow this glorification of the metropolis in favour of a more complex view of it, in terms of geographical and social diversity. The greater use of the topographical features of London

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