Making a Scene
Chapter 3 shows how typography responded to the increasing formal complexity of vernacular plays. The central case study is the printer-publisher Richard Jones’s octavo of Tamburlaine the Great (1590). Jones used numbered scene headings to carve the plays into discrete units of action and tease out their episodic dramaturgy for readers. In particular, he removed divisions where characters are described as clearing the stage to “enter to the battle.” The absence of divisions at these moments in a playbook with an unusually full complement of divisions anticipated the treatment of numbered scene divisions in other plays that, like Tamburlaine, were styled as “histories.” The kinesis and noise of battle sequences invited the continuity of audience focus, not rupture. This typographic mediation of the iterative, “rotating door” strategy of staging battle scenes with limited resources exposes “the scene” as a shape-shifting entity of dramatic form.