“Take (Meta)physic, pomp”: King Lear and (Dis)oriented Ontology

This essay uses Object-Oriented Ontology, a posthumanist theoretical model, to explore how King Lear’s use of and relation to objects can provide insight into his characterization. This essay provides a model for scrutinizing the role of objects—whether animate or inanimate—in performances of early modern drama; furthermore, it argues that King Lear’s use of objects reveals a consistent refusal to understand others, which upsets a redemptive arc in the play. To that end, the article proposes an ethical model—demonstrated by Kent—that responds to the play’s otherwise desolate worldview.

London Theatrical Culture, 1560–1590

Early modern drama was a product of the new theatrical spaces that began to open from the 1560s onward, multiple venues in and just outside London that played to a significant proportion of Londoners on most afternoons. Revisiting the evidence for this historical moment offers the opportunity to look afresh at the playhouses, plays, and playmakers that drove this new theatrical culture. These three terms include the inns and indoor spaces that regularly hosted plays, alongside the now more familiar outdoor, amphitheatrical venues the Theatre and the Rose; plays onstage, plays in print, and plays that are now lost; and the writers, actors, company managers, and male and female playhouse builders and investors who made the creation and performance of those plays possible. Conventional histories of this period’s theaters have tended to concentrate on the opening of the Theatre in 1576 as the first such playhouse. Scholarship of the late 20th and early 21st centuries shows that this event was not the initiating formative act it has come to seem, and emphasizes instead the multiple decades and kinds of playing space that need to be attended to in understanding the earliest years of the playhouses. Multiple kinds of playing company, too, operated in this period, in particular companies made up of predominantly adult male performers, with boys playing female roles, and companies composed entirely of boy performers.