Intro -- Half Title -- Series Page -- Title Page -- Copyright Page -- Dedication -- Contents -- Illustrations -- Figures -- Interludes -- Acknowledgements -- Introduction -- Notes -- 1. Cities -- England and Spain's Theatrical Capitals -- Early Urban Theatre Districts -- The Place of Theatres in English and Spanish Society -- Playhouse Locations after Consolidation -- Notes -- 2. Playhouses -- Why Did English and Spanish Theatres Look So Much Alike? A Few Genealogical Conjectures -- The Organic Corral vs the Immutable Theatre -- Seeing and Hearing (and Being Seen) in England and Spain's Playhouses -- Beyond the Bare Stage: Machines, Candles, Multi-Platforms -- Notes -- Interlude 1: Why Did Madrid Not Have a Blackfriars? -- Notes -- 3. Players -- Professional Playmakers in Early Modern Society -- Company Models, Structure and Organisation -- Touring Practices -- Who Played the Female Roles? Women and Children on the Commercial Stage -- Notes -- 4. Dramatists -- The Making of a Professional Playwright -- Verse, Prose and Polymetry -- Dramatic Genre(s) -- Quantities of Writing and Notions of Artistry -- Notes -- Interlude 2: Professional Actresses: To Have and Have Not (and How It Made a Difference) -- Appendix 1 List of plays analysed -- Appendix 2 List of plays in which the longest speaking role is female -- Notes -- 5. Playbooks -- Playbook vs Play: Printing Theatre in England and Spain -- Publication Strategies, Licensing and Censorship -- The Playbook in the Literary Marketplace -- Other Documents of Performance -- Notes -- Conclusion -- Notes -- Works Cited -- Primary Sources -- Secondary Readings -- Digital Projects -- Index.
