Abstract
AbstractThis article discusses three primary modes of ‘mobility’ in early modern theatre: geographical mobility from place to place, by both actors and scripts; a formal mobility among different modes of presentation and representation, including acting styles, characterization, and other embedded techniques of performance; and an ontological mobility that put into question the very notion of identity itself. The chapter considers itinerancy as the norm for acting companies during the period, both within and outside England, with the actors carrying with them a theatrical art that depended on many different modes of translation and cultural adaptation as they moved—over borders and among languages, across the boards and into the characters and plays of any given repertory. It examines the passport as a script for theatrical mobility and the outermost movement described by it—the travels of acting troupes across regions, countries, and continents.
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