During the 1630s a series of plays appear on the London stage with an extraordinary concentration of the city’s place names in their titles; they are known collectively as ‘place-realist’ plays. This article considers three of these dramas — Shirley’s Hyde Park, Nabbes’ Tottenham Court, and Brome’s The Sparagus Garden — in light of the emergent practice of promenading during this time. All three plays contain numerous references to pedestrianism, raising the question of why Caroline playwrights should suddenly wish to show their characters going for a walk, particularly in an era in which London drama had largely moved from expansive outdoor amphitheatres to small indoor stages. The article aims to suggest some answers through combining textual and practice-based analysis, using a Research-in-Action workshop conducted at the Sam Wanamaker Playhouse in 2016 to suggest some ways in which walking might have been represented on the early modern stage, and why.

在 1630 年代，伦敦舞台上出现了一系列戏剧，其标题中特别集中了这座城市的地名；它们统称为“地方现实主义”戏剧。本文考虑了其中三部戏剧——雪莉的海德公园、纳贝斯的托特纳姆法院和布罗姆的斯帕拉格斯花园- 鉴于此期间出现的散步的紧急做法。这三部戏剧都多次提到步行，这引发了一个问题，即为什么卡罗琳剧作家突然希望展示他们的角色去散步，尤其是在伦敦戏剧从广阔的户外圆形剧场转向小型室内舞台的时代。本文旨在通过结合文本和基于实践的分析提出一些答案，使用 2016 年在 Sam Wanamaker Playhouse 举办的“行动研究”研讨会提出一些可能在早期现代阶段表现步行的方式，以及为什么。