摘要:Plays from the Red Bull repertory were not only published but identified as Red Bull productions in a surprisingly large number of quarto editions in the first half of the seventeenth century. The design, typography, and ownership of the Red Bull quartos suggests that, as reading material, the Red Bull plays were not identified with a strictly ‘low’ cultural or social sector. The position of these plays in early modern print culture thus contradicts the familiar rhetorical construction of Red Bull playgoers as unlettered, or even illiterate, and demands a reassessment of the social and educational make-up the audience for a ‘popular’ theatrical repertory.