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Elizabethan era and theatre
Elizabethan era and theatre
Character development in Shakespeare
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Elizabethan Acting
Elizabethan acting was far from ‘naturalistic.’ This statement is a widely debated topic. The repertory of the Elizabethan period was highly differed from that of today as was the demands on Elizabethan actors compared to today’s actors. Elizabethan playhouses in two weeks could often present “eleven performances of ten different plays”. Playhouses would not repeat the same play two days in a row. As an actor from the playhouses could often be all or a lot of these plays that were all running at the same time, the demands on the actor were huge. “In the total winter season from August 25, 1595, through February 28, 1596,” one company gave “one hundred and fifty performances of thirty different plays.” Actors were not only required to “commit to memory an amazing number of new plays each season,” but he also had to retain old and previous performances in case they were to be performed again. “A leading actor of the Lord Admiral’s company… , had to secure and retain command of about seventy-one different roles, of which number fifty-two or fifty-three were newly learned.” The huge repertory demands of the actors gave them little time for interpretation of roles.
Since 1939 debate has been waged over the Elizabethan acting style. Alfred Harbage wrote that two styles of acting could have been present in the Elizabethan period. They were natural or formal. Harbage wrote:
Natural acting strives to create an illusion of reality by
consistency on the part of the actor who remains in character
and tends to imitate the behavior of actual human being placed in his imagined circumstances. He portrays where the formal actor symbolizes. He impersonates where the formal actor represents. He engages in real conver...
... middle of paper ...
... of reality sufficient to involve us.” This holds true whether the illusion is “an imitation of contemporary life, historical life, or mythical life,” the concern is not by which means this illusion is created whether it be “conventional and symbolic or contextual and descriptive,” but that it is created.
Actors perfected all the new and old roles that they had and the presentation of these roles did not change over time, there was no “invention of new devices and characteristics.” They performance of a role that at one point may have been considered natural may, in latter performances have been considered formal even if the performance of the role was the same on both accounts. For although the roles were performed and acted did not change the audience did change over time and the audience’s perception over what was considered natural would have changed.
A final difference between Shakespeare's world and modern times is you had to present your new play in front of the Queen before you could put it on. IN the essay " Actors in Shakesperare's Day", Stephanie Chidester writes, "If players were to legally retained by novlemen, they had to prove they could act, and one means of demonstraiting their ligitimacy was playing at court for Queen Elizabeth." This illustrates a significant difference because in the modern world if you want to put on a play, you get all the equipment, you don't have to get the Queen's permission.
Eighteenth century British theatre was perhaps the starting point that would evolve into modern theatre. Women started to be allowed on stage and acting techniques were beginning to change. Leading performers were like celebrities with a number of fans. Theatre was an intricate part of the social ladder. In the overall scheme of things the actors and actresses played an important part in making the theatre what it was. Without the performers there wouldn’t really be theatre, so in order to understand the eighteenth century British theatre the performers of that era need to be understood.
Shakespeare's first tragedy has been a topic of discussion since the day it was written. Titus Andronicus "was staged on 24 January 1594 by the Earl of Sussex's Men at the Rose Theatre" (Welsh 1). Though this tidbit of information seems somewhat irrelevant to Titus, we must note that there are certain standards and practices established by a play from its first performance. It is also important to establish the general attributes that audiences attribute to Shakespearean performance.
that one characteristic of an illusion comes from the wishes of humans and comes close to
Shakespeare’s use of role playing and metatheatre in 1 Henry IV and A Midsummer Night’s Dream call attention to the nature of theatre. Not only the nature of the play we are watching, but also the play of life. As the audience, we have a broader perspective. As if we are allowed to see through a different lens. We inhabit a world that is very different from the one we live and yet in some ways we see ourselves in the characters (Bedford).
In this text, Dorothea Kehler discusses the modern aspects of theatre and play writing that were evident in Shakespeare’s play. The book uncovered several complex and advanced styles in music, dance and humor that have been used in contemporary theatre. The author is a professor in English literature from San Diego university. Dorothea is also a private novelist and part-time poet. The book provided a modern approach towards analyzing Elizabethan literature.
In linking the characters to vaudeville stars, the Chicago cast is, in effect, imitating the actual vaudeville acts they evoke. By 1900 (a time when vaudeville was just coming into its own), a new model of social science viewing imitation as key to the development of the self was gaining popularity while the older notion of intrinsic or fixed human character declined in plausibility among American psychologists (Glenn 62). Imitation came to be recognized as an outward play of personality rather than a telling ...
a vaudevillian and appropriately enough was born into the theatre. As a child, the art of
According to Bulman, some of the roles were given a male cast to the boys in the Elizabethan for the different people to have their sexual desires and imaginations raised. The writer holds that the gay culture was prevalent during that time period (Bulman 76). For those that were heterosexuals the boys would boost their imagination and grow in the story through the different uses of all-male casts. These casts were well prepared and the right amount of make-up ensured that they were set-up perfectly for the role. In Bulman’s article it is clear that he was taken by the different attributes of the society and the different productions of the plays in the Elizabethan period. The article highlights how the plays were conceptualized and acted out by the different productions (Bulman 75). It is important to note that there are different methods used with each raising its own significance and perception from a given cause of action identified by the production
In the introduction, the audience’s position in society is established: “people who make it their life’s work to make other people’s lives better” while the speaker portrays being “an actress” lower, less important and less respectful, distancing the speaker from the audience even more. Before being relatable, the speaker concentrates on gaining the audience’s trust by demonstrating knowledge and respect for what they do to make anyone’s life better. Since the audience is not used to the speaker, it is difficult to give them something to relate to directly in the beginning because it would feel forced and not genuine. Therefore, the speaker had to use the knowledge about the subject and about the audience’s work. In the introduction, the speaker offers nothing, but mere respect to the audience, which any hard worker will appreciate.
"Elizabethan Theatre Audiences." Elizabethan Theatre Audiences. Strayer University, 16 May 2012. Web. 24 Mar. 2014.
Elizabethan times in the 1600s was a progression for the world of the theater. A period named after Queen Elizabeth I of England, it is from this period that modern day society has its foundation for the entertainment industry. From the violence that was prevalent because of the Black Death, people turned to the theater for its poetry and romance. During this time period, there were two types of theatrical performances that were available for the people’s viewing, comedies or tragedies. These two genres were never really intertwined until the time of William Shakespeare. His play, Romeo and Juliet, is an example of both a comedy and a tragedy. It starts off as a comedy with Romeo weeping like a baby because of his love Rosaline, who did not love him back and ends as a tragedy when Romeo and Juliet, a pair of star crossed lovers, commit suicide because the lost of each other. It was also during Shakespeare’s time that writer were finally acknowledged by the people. Before this time, writers were not considered upper classman. Another group of people that began to rise into a higher social class were the actors. Actresses were not present back then because women were not allowed on stage. It was considered unladylike to have a female actor. Men played all the parts. Theater owners were dependent on actors to make them a profit. Rehearsals for the plays were fairly short, only lasting for about a week. The performances themselves would only show for three to four days.
David Garrick was considered to be the most influential and skilled actor of his time. Garrick is credited with revolutionizing the portrayal of character. His concept of ‘experiencing’ the feelings of the character, is a concept that helped lead 18th-century theatre into a new naturalistic era. It was an approach to acting that was directly at odds with the theatrical philosophy prior to Garrick’s inception (Stone and Kahrl 35). Garrick’s innovative style known as naturalism, led the extremely popular and successful actor James Quin to remark " If this [method of Garrick’s] is right, then we are all wrong" ( Cole and Chinoly 131). The style that was so admired and later copied by Garrick’s peers was a combination of naturalism, classical representation of the passions, and exaggerated physicality.
The name most associated with excellence in theatre is William Shakespeare. His plays, more than any other playwright, resonate through the ages. It may be safe to say that he has influenced more actors, directors, and playwrights than any thespian in the history of the stage. But what were his influences? During the Middle Ages theatre was dominated by morality, miracle, and mystery plays that were often staged by the church as a means to teach the illiterate masses about Christianity. It wasn’t until the early sixteenth century that Greek tragedy experienced a revival, in turn, inspiring a generation of renaissance playwrights.
Shakespeare got much recognition in his own time, but in the 17th century, poets and authors began to consider him as the supreme dramatist and poet of all times of the English language. In fact, even today, no one can match his works or perform as well as he did. No other plays have been performed as many times as Shakespeare’s. Several critics of theatre try to focus on the language of Shakespeare and to take out excerpts from the literary text and make it their own resulting in various persons, poets, authors, psychoanalysts, psychologists and philosophers.