The article indicates that Marlowe makes use of visual and kinetic means to enact violence in his plays, which create moments of audience distress and present-tense fear in the audience. According to the author, Marlowe thrust the kinesthetic truth of theatrical violence into the heart of culture, though this strategy in his plays.
In his article "What Happened to the Mighty Line: Recent Marlowe Productions", Lois Potter makes a fundamental exploration of the nature of "mighty lines" in the recent Marlowe productions such as films and stage performances. The author maintains that there are many mighty lines in these recent productions and these lines are seen in the recent productions of the various plays by Marlowe such as Dr Faustus, The Jew of Malta, Tamburlaine, and Edward II. According to him, the influence of the author of the recent productions of Marlowe's plays is greatly evident in these productions and he makes a profound exploration of why the mighty line are replaced by the moving line in these production.
"How to Do Things with Demons: Conjuring Performatives in Doctor Faustus" is an important article by Andrew Sofer, in which the author investigates how the Elizabethan actors performed black magic on the early modern stage. Andrew Sofer purports that the unnerving performative potential of the actors influenced the fascination conjuring held for Elizabethan audiences and conjuring in plays such as Doctor Faustus makes use of a performative speech act which threatens to blur the distinction between theatre and magic. The conjuring in these plays reflect the ontological ambiguity of performance itself and, by doing so, conjuring poises on the knife-edge between representing (mimesis) and doing (kinesis). According to the author, the power in performance of the play Doctor Faustus relies on keeping the ontological stakes of black magic deliberately uncertain, which ultimately convinces the audience of the efficacy of Faustus's conjuring. Thus, the article offers convincing explanations about the various aspects of the performatives which reveal the features of the conjuring in the play Doctor Faustus.
The Self-Reflexive Character of the Staging of Violence in Marlowe's Doctor Faustus
Christopher Marlowe's celebrated play The Tragical History of Doctor Faustus, normally known simply as Doctor Faustus, is based on the Faust story, in which the protagonist, in pursuit of power and knowledge, sells his soul to the devil and the play is noted for the theme of violence. Violence, along with sex, suggests one of the basic themes in various plays by Marlowe and the playwright has considerably dealt with the theme of violence in his play Doctor Faustus, which was one of the celebrated stage performances of the time. As a playwright had a thorough idea of what his audience wanted, Marlowe offered various scenes dealing with violence in his play. The playwright was aware of the mood of the audience who wanted to see violence, sin, sex, magic etc on the stage and he offered them an important opportunity to see and experience these elements in his Doctor Faustus. In this play, as in the play Tamburlaine, a new kind of experience in theatre which exceeds