Abstract

Messengers have more vital roles in Antony and Cleopatra than in any other play of the period, and an investigation of staging issues relating to messenger-function in the play demonstrates the need to give more attention to the agency of messengers in early modern drama. There is evidence for the instant recognizability of messengers-by-trade – by way of costume, accessories, and/or manner – and this recognizability is associated with their metatheatrical function of revealing 'truth' in association with crises of identity and authority. Messenger parts offer useful verbal and non-verbal opportunities for inexperienced actors, and may sometimes have been used for apprentice-training.

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