Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Theater in the elizabethian era
Theater in the elizabethian era
William Shakespeare's life and career
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Theater in the elizabethian era
The Lord Chamberlain’s Men
The Lord Chamberlain’s Men, according to “The Lord Chamberlain’s Men”, was the most popular acting company during the 1600s (“The Lord Chamberlain’s Men”). The Lord Chamberlain’s Men were led by many different leaders, such as noble men and important women. The acting company performed in many different theaters over the time of its existence. Shakespeare and many other famous actors during that time performed with the Lord Chamberlain’s Men. The company preformed plays written by Shakespeare from 1599 to 1642 (“The Lord Chamberlain’s Men”). The company’s name was changed multiple times throughout it years of existence. The Lord Chamberlain’s Men were a favored acting company during the time of Shakespeare.
The Elizabethan Era saw the birth of modern theatre. During this time the first purpose theaters were built and the
…show more content…
Others include Samuel Gilbourne, William Sly, Henry Condell, and John Sincler (“The Lord Chamberlain’s Men”). Richard Burbage was the star of the company and he was the son of James Burbage, the builder of the first theatre in London (“Shakespeare and the Lord Chamberlain’s Men”). Shakespeare wrote and acted for The Lord Chamberlain’s Men, he was said to have performed in plays such as Hamlet, where he played the ghost, and he performed as Adam in As You Like It (“The Lord Chamberlain’s Men”).
A favored acting company during the time of Shakespeare was The Lord Chamberlain’s Men. The acting company was and still is famous today because they were led by many different leaders. The Lord Chamberlain’s Men moved theatres many times throughout its existence. The change in leadership caused the company to change its’ title multiple times. Shakespeare and many other actors were known to perform with The Lord Chamberlain’s
The Restoration in England was an era ripe for the development of new ideas in the arts. The return of the Stuart monarchy under Charles II marked the end of eighteen years of almost dictatorial control by Oliver Cromwell and his Puritan parliament. Cromwell had campaigned actively to halt all theatrical activity. In the end, however, his laws were actually responsible for helping move England forward in theatrical history. Actors, under Cromwell's laws, were to be apprehended a rogues if they were caught "in the act" so to speak of performing their trade. Some left their careers and sought employment elsewhere. Most, however, remained undaunted by parliament's threats. Productions continued quietly in tennis courts, inns and private houses. Officials were bribed to keep silent their knowledge of violations. The theater in England had moved indoors as it had already done in France and Italy. Although the reasons for the move were different, the end result was the same. Up until this time plays had always been performed outdoors in the early afternoon. Performances traditionally relied on sunlight, natural scenery, and minimal set pieces that could be easily transported from one location to another. Indoor productions required something much more elaborate. The preliminary concepts of scenic design and lighting design began to form in England in the late 1650's. During the Restoration, as controls were lifted, technical theater began to flourish. Many early examples of modern stage techniques were born between 1660 and 1800, making the Restoration a significant era in the history of scenic design and lighting for the theater. The art of scenic design did not begin in England. As early as 1570 the Italians were giving elaborate opera performances in the ducal courts using perspective scenes and various types of stage machinery. The French mimicked the design ideas of the Italian's and gave them a name, la scene a l'italienne. (Southern 221) Although Cromwell had banned public theater, opera was still considered a lawful art form. In England, just prior to the Restoration, John Webb designed the scenery for William D'avenant's 'opera' production of The Siege of Rhodes.
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.
Richard Burbage was part of the troupe, The Lord Chamberlain’s Men, with Lawrence Fletcher, William Shakespeare, Augustyne Phillippes, I...
In this textbook, Kenneth Muir compared the differences that existed in theatre during Shakespeare’s time and in modern theatre. Kenneth particularly analyzed the tastes, culture and styles used by the Elizabethan artists. However, the book also adopted a critical approach that sought to review the make-believe world that existed in the play. The book also analyzed the reality of the characters as well as their relevance in the contemporary world. Kenneth Muir was a literary scholar that concentrated on Shakespearian content for several years. The author was also a playwright and a poet. The book was written in a professional manner that covered the comparison in an elaborate manner.
"Elizabethan Theatre Audiences." Elizabethan Theatre Audiences. Strayer University, 16 May 2012. Web. 24 Mar. 2014.
Like all the plays of Shakespeare, 'Romeo and Juliet' was written for a typical Elizabethan playhouse. These theatres came about from 1576, when the first theatre was built. Before this time, plays had been performed by a group of actors (all male) who travelled from town to town, using open places, such as inn-yards, or with permission, the hall of a noble house as a theatre. Shakespeare's own theatre the Globe was quite typical of that period. It was hexagonal in shape, with three roofed galleries that encircled an open courtyard.
Open in London in 1599, William Shakespeare’s Globe theatre grew to be recognized as the most popular playhouse in the region and home to some of the greatest players in England. The King’s Men, previously the Lord Chamberlain’s Men, were a playing company for whom Shakespeare was a member of for most of his career. They frequently performed in the Globe and staged many of Shakespeare’s works. Nevertheless, the lack of stagecraft information provided from these XVI century texts has made it hard to interpret how Shakespeare originally intended his plays to be performed in the Globe. In particular, the famous tragedy of Romeo and Juliet suggests that there are many alternative staging options for each scene. However, from a close reading of the play-text as a manual for performance, it is possible to describe how the play may have been staged, specifically in Act 2, Scene 1, by analysing elements such as the acting measures, the costume design and the stage setting.
A. Elizabethan Theatre - A Lecture. Elizabethan Theatre. 2005. The 'Secondary' of the 'Secondary' of the Web. The Web.
The actors would sleep in or under the wagons when they were between towns. Due to this, troupes used very little scenery in their plays since it all had to fit in said wagon. On another note, during the Elizabethan period women were not allowed to perform, so any parts that had a female character had to be done by a young man. Also, troupes were fairly low on money. Sometimes they would get lucky and the town would pay for their services, but a troupe mainly lives off of any money the audience gives them.
Theatrical performance is vital not only to the presentation of Hamlet and Othello, but it is vital to each of the play's respective stories. Several key characters control, manipulate, or script a theatrical performance of their own. Through subtle suggestion and explicit or implicit storytelling, Shakespeare's use of theatrical performance within his own plays underscores the subversive power of the theater.
This new theatre was an extremely risky venture. Any actor caught performing would be imprisoned. Box office receipts would be confiscated for the Commonwealth. Enormous fines would be levied against any daring to sit in an audience. Entire playhouses would be destroyed, their interiors gutted or exteriors burned. Theatre faced extinction. It became an obsequious art, catering to Cromwell's strict moral code. Killigrew would survive, and eventually form the Theatre Royal, but he lived in constant fear. Davenant worked through legal channels to produce theatre Cromwell could not dispute. His pieces were simple, more opera then play, and propaganda for the Commonwealth. Interestingly, the first woman to appear on the British stage did so in this time, in Davenant's The Siege of Rhodes. He began pushing the envelope, uncomfortable in his new sycophantic role. He renewed his ties to the British aristocracy, exiled to France. He befriended Charles II, and when the young king made his triumphant return to power, Davenant was given the monopoly on all theatre in London. He shared this power with his old friend Thomas Killigrew. Under their guidance, the theatre exploded back into being.
Russell Brown, J. 1995. The Oxford Illustrated History of the Theatre. 3rd ed. Oxford: Oxford University Press.
The theater that Cuthbert Burbage built for the Chamberlain's Men had a total capacity of between 2,000 and 3,000 spectators. Because there was no lighting, all performances at the Globe were conducted, weather permitting, during the day (probably most often in the mid-afternoon span between 2 P.M. and 5 P.M.). Because most of the Globe and all of its stage was open air, acoustics were poor and the actors were compelled by circumstances to shout their lines, stress their enunciation, and engage in exaggerated theatrical gestures. What would seem most striking to a modern (Broadway) theatergoer about the productions staged at the Globe is that they were completely devoid of background scenery. Although costumes and props were utilized, changes of scene in Shakespeare's plays were not conducted by stagehands during brief curtain closings. There was no proscenium arch, no curtains, and no stagehands to speak of other than the actors themselves. Instead, changes of scene were indicated explicitly or implicitly in the speeches and narrative situations that Shakespeare wrote into the text of the plays.
Many individuals had influence over the regulation of theater. Although naturally the sovereign had direct control, their wishes were carried out through the Privy Council, Chamberlain, Master of the Revels, Treasurer, Mayor, and occasionally the ecclesiastical officers.
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.