Change of venue

Definition and stakes

E. K. Chambers The Elizabethan Stage, Vol. 3 (1923)

The public theatre gets in some ways a greater variety of dramatic situation, partly [102] owing to its free use of the open stage, instead of merely a portico, for hall scenes, partly owing to its characteristic development of action ‘above’. This, in spite of the battlements of the Revels accounts, may perhaps be a contribution of the inn-yard. The main change is, of course, the substitution for the multiple staging of the Court, with its adjacent regions for different episodes, of a principle of successive staging, by which the whole space became in turn available for each distinct scene.
Source: Gutenberg

Eleanor C. Price John's Lily (1892)

The wide space in front of the old market-place was filled up with swinging boats and merry-go-rounds, and rows of booths ran down each side of the wide street next the pavement. A field between the street and the river was occupied by shows—a wild-beast show, a theatre, a shooting-gallery, and all the various amusements that attracted the country people who stood staring in groups, or wandered slowly in and out of one tent or another. Every hour the crowd went on slowly increasing, the noise and life of the fair strengthening.
Source: Gutenberg

E. K. Chambers The Elizabethan Stage, Vol. 3 (1923)

There are exceptions, and the scenes in a town are occasionally broken by one or two, requiring at the most an open-country background, in the environs. The exact measure in which the principle is followed will become sufficiently evident in the sequel. My immediate point is that it was precisely the absence of unity of place which drove the public stage back upon its common form background of a curtained alcove below and a curtained gallery above, supplemented by the side-doors and later the windows above them, and convertible to the needs of various localities in the course of a single play.
Source: Gutenberg

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