These two excellent papers illustrate how data from widely separated and apparently unrelated areas of theatrical activity may combine to help solve a crucial problem: the original method employed in staging Shakespeare's plays. The problem hinges largely upon the nature of the so-called ‘inner stage’ and the extent of its use at such theatres as the Globe. Mr. Nagler's survey reinforces the impression that Renaissance acting, whether on medieval, neo-classical, or ‘mixed' stages was, in the main, pro-scenium acting. Normally the setting did not contain the action as in the modern theatre but simply supplied the actors with access to their playing space and, in some cases, an illustrative background. Such being the tradition of the time, the type of court performance ‘in the round’ suggested by Mr. Hotson's important discovery seems less surprising. And if Shakespearean plays could be per formed at court upon a centrally placed stage surrounded by its audience, presumably these same plays could be performed at the Globe wïthout extensive use of an inner stage.