Cover
Half-title page
Title page
Copyright page
Dedication
Contents
List of Illustrations
Acknowledgements
Textual Note
List of Abbreviations
Introduction
Guessing at the Action: Recovering Performance and the Early Modern Boy Actors
Embodying the Action: The Case for Practice-Based Research
(Candle)Lights, Boys, Action: Boy Actors in Early Modern England
Chapter 1 'All Feats of Activitie, and Motions': Rethinking Early Modern Boyhoods
'Let Young Men then Be Exercised': Ideals of Physical Boyhood

'All Manner of Drudgeries': Apprenticeship and Embodied Work
'Stronge or Violent Exercyses': The Learning Body
'Not Only by What They Said but Also by What They Did': Staging the Active Body
Conclusion
Chapter 2 Staging Skill: Movement, Metatheatre, and Boy Actors' Theatrical Reputations
'New Rigg'd Barks': Acting Apprentices and 'the Quality of Playing'
From Incompetent Ingles to Valuable Virtuosi: Staging Boy Actors' Work
Body Work between the Lines: Jonson and Marston
Physical Field: The Boy Actor's Body and Theatrical Reputation

Conclusion: Remembering Pretty Dick and Young Antinous
Chapter 3 'The Bettering of the Body': Staging Sport in the Boy Company Repertory
Take Your Positions: Mulcastrian Education and the Boy Company Stage
Playing in Practice
'(Pur)': Battledore and Shuttlecock in Marston's What You Will
'Whose Is the Throw?': Bowls in Day's The Isle of Gulls
Conclusion: The 'Bettering of the Body' and Early Modern 'Dream Teams'
Chapter 4 'Sport Indeede': Star Roles as Physical Showcase
'Salad Days': Dido, Pandora, and Movement as Theatregram

Queens and Squires: Kinetic Connectivity and the Master-Apprentice Dynamic
'She Hales Him Up and Downe': Cross-Repertorial Collaborative Violence
'Sweating Labour' and 'Sport Indeede': Motion in the Monument
Conclusion
Conclusion
Bibliography
Index