ABSTRACT
As the work of Heywood in The Captives, The Escapes of Jupiter and Sir Thomas More has particularly demonstrated thus far, even in the act of composing, dramatists had to anticipate how their texts would evolve past the page to the stage at any given point. By way of conclusion, this chapter presents three further examples of this circulation for Jonson, Middleton and Shakespeare along with the consequences for performance, inside and outside the playhouse. Each time a play or theatrical entertainment circulated, it moved within the interconnected and circular theatrical world that entrepreneurs such as Henslowe, Alleyn and their colleagues, including dramatists, did so much to build and, ultimately, record.
