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Exeunt to the Cave: Notes on the Staging of Marlowe's Plays

Published online by Cambridge University Press:  14 February 2022

Glynne Wickham
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Extract

Engaged as I am, at the moment of writing this article, in preparing to stage Edward II for the Bristol Old Vic Theatre School, my thoughts are more immediately concerned with the problems that the texts of Marlowe's plays present to the actor than with those that they pose for the historian or the critic.

An actor wants to know from where and how he makes his entrance; where and how he is to make his exit. Confronted with the stage direction “Exeunt to the cave” or “Enter from the cave, Aeneas and Dido,” what the actor and actress want to know is where this cave is located on the stage, what sort of a cave it is, how wide the opening and how much head-room, whether it is equipped with a door or sliding panel, and so on.

Type
Research Article
Information
Tulane Drama Review , Volume 8 , Issue 4: Marlowe Issue , Summer 1964 , pp. 184 - 194
Copyright
Copyright © 1964 The Tulane Drama Review

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References

1 See Wickham, G., Early English Stages, II, Pt. I (New York: Columbia Univ. Press, 1963), pp. 158-172.Google Scholar

2 Ibid., pp. 196-205.

3 See Reynolds, G. F., The Staging of Elizabethan Plays at the Red Bull Theater, 1605-1635 (London: Oxford Univ. Press, 1940), pp. 33-51.Google Scholar

4 See Early English Stages, I, Plate XXIV.

5 Ibid., II (Pt. I), pp. 314-315.

6 Ibid., pp. 286-289.

7 Faustus is also presented “in his study.“

8 On the tent-study question see Nagler, A. M., Shakespeare's Stage (New Haven: Yale Univ. Press, 1958), pp. 26-32.Google Scholar

9 This quality was one of those most evident in Sir Tyrone Guthrie's production of Tamburlaine at the Old Vic in 1951.