Other sources incorporate the morality plays that grown the 'University drama' that attempted to recreate Greek tragedy. Subsequently the Commedia dell'arte and the detailed masques regularly presented at court came to play roles in the designing of public theatre. Temporary companies of players associated with households of leading noblemen and performing seasonally in various locations prevailing prior to Elizabeth's reign. These became the groundwork for the professional players that performed on the Elizabethan stage. (Elizabethan theatre: Wikipedia).

             The tours of these players steadily substituted the performances or the mystery and morality plays by local players and a 1572 law avoided the remaining companies, deficient of formal patronage by discarding them as vagabonds. At court also the performance of masques by courtiers and other amateurs, are really common in the early years of Elizabeth, was replaced by the professional companies with noble patrons who rose in number and quality during her reign. The local government of London was normally aggressive to public performances, but its aggressiveness was superseded by the interest of the Queen for plays and support of the Privy Council. Theatres strangled up in suburbs, particularly in Southwark, reachable across the Thames to city dwellers, but nor regulated by the London corporation. The companies maintained the pretence that their public performances were only rehearsals for the regular performances prior to the Queen, but while the latter did provide prestige, the former were the correct source of the income professional players necessitated. (Elizabethan theatre: Wikipedia).

             Up to the Middle of the Elizabethan era no particular theatre buildings, but the players in London or elsewhere, performed wherever they could find an available place in open squares, large halls, or particularly, in the quadrangular open inner yards of inns.