Abstract

The purpose of this work is to examine how, in the context of the Jacobean era's transition to the Stuart monarchy's absolutism in England, the tronic method of the coups de theatre was utilized and modified by Baroque playwrights in such works as Philaster, The Revenger's Tragedy, The White Devil, and Women Beware Women. A tier exploring the Aristotelian antecedents of the coups de theatre, Rizzoli (English, U. of Turin) explores the often opposed textual responses of the plays to social, political, and epistemological realities of the day. This is the English version of a study previously published in Italy.