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Crystal Selover
COMM 400
Mr. Robert Alford
May 2, 2012
Understanding Elizabethan Theaters
Many authors have found and published information about the Elizabethan time period
and the theaters of that time. The focus of the Elizabethan time period revolves around the
existence of William Shakespeare, therefore this time period can also be referred to as the
Shakespearean era. The time period known as the Elizabethan era or Shakespearean era lasts
from approximately 1560-1660. Although Shakespeare was buried in 1616, the struggle to
produce his plays remained in effect through the time period until the end of the Puritans power
in England. A significant amount of information still remains about this time period and the main
focus of this paper is to explain, in great detail the theatres of the Elizabethan time period.
The Elizabethan era is one of the most important times in theatrical history because of the
fight to keep theatre alive. It is also significant because of the existence of William Shakespeare
and the works of literature that he created. His plays are considered to be of the highest quality
and he wrote a large quantity of them during his lifetime. Four playhouses during the Elizabethan
time were literally Shakespeare’s. He was connected to the four main playhouses because he was
part owner and operator. He was considered part owner because he was one of the shareholders.
These four main playhouses include the Theatre in Shoreditch, the Blackfriars of 1596, the Globe
of 1599, and the Globe of 1614. To understand the art of theatre during the Elizabethan era it is
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necessary to understand the structure and description of the popular playhouses. It is most
significant because modern theaters have evolved greatly from the design of the theater during
the Elizabethan era. The first playhouse that will be described is the Theatre in Shoreditch. The
Theatre in Shoreditch was built out of timber, tile, brick, iron, sand, lime, and lead. The theatre
mainly consisted of a timber-framed structure with tiled roofs. The use of the bricks is not stated
but it is believed that they were used only for the foundation or for the nearby chimneys. The
theatre was large and solid. However, the building needed repairs often that were extensive. The
theatre also required further building. It is believed that the theatre was constructed by a small
group of carpenters and plasterers. The workmen thought of the building as being very simple
and of old fashion that was prone to rot and repairs. The building was two stories high and had
chimneys to provide warmth. The exact location of the chimneys is not stated. The theatre
building was built so that it could easily be taken down and carried away. The plays of the
Elizabethan era were specifically written for the stages that they were performed on. Only the
times best actors would be in the productions held at these popular Shakespeare theaters (Berry
1-3).
There was a strong connection between the actors and the theaters in which they
performed. These playhouses were also expensive and always cost more to complete than their
estimates. It is possible that the theater was completed early and with extra supplies leftover due
to the costs of construction. The Theatre in Shoreditch was constructed in the early 1580’s and
remained until the winter of 1599. It was stated at the time that the theater was being taken down
due to decay. It was also stated that it was to be constructed again immediately following its
destruction. It was said that the theatre was going to be rebuilt in its exact location. However,
after it was pulled down it was carried away. A new theater was not constructed in its place. The
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timber from the Theatre in Shoreditch was later used in the construction of the Globe theatre
(Berry 3-9).
The second theater that will be examined is the Blackfriar. The documents about this
Shakespearean theater have less information about the construction and more information about
the stages and the audience members. It is assumed that the characteristics of this playhouse
would be similar to the Theatre in Shoreditch. However, it is known that there were
disagreements at Blackfriars often. Audience members would quarrel over which seats were
better and over the hindering sights of others. The fact that this was not a problem at the Theatre
in Shoreditch implies that the audience seating area was designed differently at Blackfriars. In
fact, documents show that the design at Blackfriars was new and different. The additions of the
box seats were designed according to Berry to be, “contiguous to the stage and on a level with it”
(Berry 50). Audience members actually sat on the stage in the playing area where the actors
performed. It was possible for the audience member to reach out their hand and touch the actors.
It was also possible for the actor’s swords to stab the audience by accident. It was ultimately a
bad idea. Lords were believed to sit in the box seats and their cost was twelve pennies. The stage
and box seats were raised on a level higher than the lower level. The seats containing bad views
of the stage only cost one penny. The twelve penny seats would be similar to the modern day
orchestra seats in the front of the lower level of the theater (Berry 52-53). The exact placement of
the box seats in the Blackfriar theatre is controversial. It is not certain if they were located along
the stage or in the rear of the stage on a second level.
The theaters of the Elizabethan era, or Shakespearean era were much closer to the
audience therefore very personal. Modern theaters are built on a larger scale and contain a
spacious distance between the actors and audience members. Such a large distance is created that
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some people on the third level will take binoculars with them to the theater. According to Berry,
the stage at Blackfriars was an “open platform and realism [was] impossible on it” (Berry 53).
The main focus on most of the Shakespearean stages was the presence of rhetoric, symbol, and
pageantry. It was essentially created for entertainment and not realism or deep thought.
Immediately following the Elizabethan era in 1660 the Restoration period began. Like the
Blackfriars playhouse, the theaters in the Restoration era were also indoors. However, the
Theatre in Shoreditch and the Globe theatre were both without a roof (Berry 54). The most
controversial fact that is debated is about the specifics of the interiors at Blackfriars. The closest
resemblance the modern theater has to the Blackfriar Theater would be the thrust stage (Berry
55). It is known that the stage at Blackfriars was not small and that sitting on or level with the
stage was associated with this theater and not any other theater, public or private (Berry 57).
Berry explains that, “the most expensive seats were in different places in different theatres” and
that “all the public theatres for which suitable record survive, there were expensive seats in the
gallery over the stage throughout the period” (Berry 66). As previously stated these seats were
thought of being at level with and directly next to the stage.
The third and fourth playhouses that were partially owned by Shakespeare were both of
the Globe theatres. The first Globe theatre was the Globe of 1599, and the second is the Globe of
1614. Later, I will explain why there are two different versions. Of all the playhouses that existed
during the Elizabethan time period, the Globe theatre is the most well-known. This is primarily
because of the documents about its history that have survived since its existence. The Globe
theatre was being constructed in 1598 in a similar location as the Theatre in Shoreditch . The
Globe theatre also used all of the same materials for construction that were the leftovers from the
previous theater (Berry 2). The Globe of 1599 was constructed on land obtained by Thomas
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Brend. During his lifetime the success of the Globe was easy but after his death there were many
arguments involving financial disagreements. After Thomas Brend’s death his son Nicholas
Brend became involved with the land and real estate in which his father owned. Nicholas Brend
owned the property that the Globe was constructed on and the surrounding gardens, streets,
housing, and various smaller buildings close to the bankside. In the housing on his property lived
Richard Burbage and William Shakespeare (Berry 82-87). It is assumed that they were involved
with the Globe theatre and its use from living on the same property. Living on the same property
also meant the possibility of being a shareholder, which they were. It is also assumed that
William Shakespeare became partial owner with Nicolas Brend in order to help him with his
financial burdens. Shakespeare had thought that his plays could help the Globe playhouse make
profits and help the burdens of Brend. These statements are merely an assumption and cannot be
proven from research. In fact, the exact date of when Shakespeare attained the partial ownership
of the Globe from Brend was not discovered in research. Sadly, the profits from the Globe were
minimal and the financial burdens of Brend continued. All of the buildings on Brend’s property
were also in need of extensive repairs (Berry 87). After Nicolas Brend passed away the Globe
was owned by a scheming John Bodley until Nicolas’ son Matthew Brend came of age in 1621
(Berry 94). Matthew Brend sued Bodley for the return of all properties including the Globe.
Matthew proved to the court that Bodley created a scheme of trust while Matthew’s father was
on his death bed, therefore Matthew won the case (Berry 95).
Berry stated that the Swan playhouse was a “rival playhouse” to the Globe theatre (Berry
153). This was possibly because of the Globe’s extensive history. When James Burbage, his son
Richard Burbage, William Shakespeare, and the other associates of the Lord Chamberlain’s Men
could not renew their lease on the Shoreditch they had it pulled down in December of 1598. The
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men took all of the materials to a new site and built what would be known as the new Globe
theatre in June of 1599. Unfortunately, the Globe theatre burned to the ground in 1613 but it was
reconstructed and open for performances within a year (Berry 154). The Globe theatre held
productions of plays consistently from 1614 until 1642 when all play houses were ordered to be
pulled down by the Puritans (Alchin).
There was a major lawsuit involving the King’s Men also known as the Lord
Chamberlain’s Men. The lawsuit was between the associates of the theatre troupe and Matthew
Brend concerning specifics about the Globe. The lawsuit centered on the amount of rent to be
due each month, the length of the lease, and compensation to the men for repairing the Globe
when needing as well as the repair from the fire (Berry 163-165). Matthew Brend and the Lord
Chamberlain’s Men quarreled over finances and the lease contract for years. They were never
able to agree on a peaceful settlement. The Globe remained standing for quite a long time after it
had ceased housing plays in 1642 (Berry 78). This was primarily due because of the punishment
the Puritans were giving to anyone involved with the theatre (Alchin).
The design of a strict proscenium-arch prevents the audience from sitting on the side or
back of the stage as well as in box seats (Berry 54). The Globe theatre was three stories high and
it was stated and confirmed to hold more than three-thousand spectators in 1624 (Orrell 127). It
is unknown if all of those patrons were seated, however it would be more believable if they were
actually all standing. The area now known as the orchestra or lower level was referred to as the
yard. The yard was the only place where standing was expected (Orrell 127). However, the claim
of the Globe being able to house over three thousand audience members encourages the idea
about a greater amount of standing spectators.
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There is enough evidence from the gathering of many different documents to conclude
many specifics about the Globe theatre. According to Adams, findings there are evidence to
prove “that the Globe was [in fact] a three-story, octagonal structure surrounding an unroofed,
octagonal yard (Adams 1). Adams also claims the exact dimensions of the theater. He states that,
“the playhouse measured eighty-three feet between outside walls, thirty-four feet high to the
eaves-line, and fifty-eight feet across the interior yard” (Adams 1). He also adds that the arena
appears to be about eighteen feet high and fifty feet across (Adams 2). According to Orrell, “the
Globe was an acoustical auditorium, intended to serve the word and the ear more fully than the
image and the eye” (Orrell 140). The viewing space was quite small and cramped which made it
personal. But with its enormous crowds the view of the stage could easily be obstructed. What
the performance lacked in a spectators view could be compensated by its sound. Elizabethan
theatres were like Roman theatres in that they were also based on “constructive geometry,
bounded by the circle” (Orrell 142). Orrell express that his belief is that the Globe theatre is a
combination of ancient forms and their modern stage practices. The term modern of course refers
to the 1500-1600 time period.
Beckerman provides information on what the inside of the Globe could have looked like.
He provides unique details about the stage area. Beckerman claims that, “the principal part of the
stage was a large rectangular platform upon which rested two pillars” (Beckerman 106). He adds
that, “at the rear of the platform two doors and a curtained recess between them provided access
to the stage” (Beckerman 106). Reynolds claims, “there could have been little verisimilitude of
relation of the doors with the balcony above” (Reynolds 129-130). Reynolds adds that the plays
use allusion and convention to point out the clarity of the door and its significance (Reynolds
130). Beckerman confirms that this recess or doorway contained an “upper level principally
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required where characters related themselves to others below” (Beckerman 106). Beckerman
bases this information solely on the evidence from the plays performed in the Globe. He believes
that the floor of the outer stage contained at least one trap door. It is also believed that they did
not use any type of machinery during the shows. The use of any type of deus ex machine was
considered outdated and too artificial. The design of the stage was considered fancy and formal
and impossible for reality. The theater was seen as a “show place” where great entertainment
could be enjoyed (Beckerman 106). Again these descriptions are only ideas that are believed to
be the stage’s characteristics and cannot be proven because of a lack in documentation. The
actors’ movement in the Shakespearean drama is what provides a progression in the story. The
entrancing and exiting of the characters gives emphasis to the scenarios of the characters life and
purpose in the story (Beckerman 106). The stage itself was bare in the Globe and there was little
use of props. The audience formed meaning using “the words they heard, not the sights they
saw” (Beckerman 108).
At the Swan theatre Beckerman suggests that they have a flag hanging in sight on the
stage which represents a performance is in progress. The Swan theatre was also believed to use a
trumpeter that sounded the horn a certain number of times to indicate different actions. Sounding
the horn three consecutive times normally indicated the start of the play (Beckerman 99). Since
the stages of the Globe were believed to be bare that meant that any properties used during the
show were brought on by the characters (Beckerman 82). Only when it was necessary heavy
properties were ‘found’ or ‘discovered’ on the Globe stage. Items that were discovered on stage
consisted mainly of trees or furniture (Beckerman 74-75).
Actors often displayed the convention of entering in one door and leaving out of another.
There was quite often a third door which was an entry point used as the place of discovery
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(Beckerman). The discussion about the actor during the Elizabethan era is important to truly
understand the stages that their performances took place on. There were two acting styles
believed to have taken place on the Shakespearean stage. The two styles of acting were formal
and natural. Both of the styles complemented each other. If one actor displayed the formal style
the other would display the natural and vice versa. The actors’ greatest tools were their voice and
their gestures (Beckerman 109). Beckerman explains in great detail the goal of the Elizabethan
actors. The story is presented by an “actor, imitating a person in a fictional situational in such a
way as to hold the continuous attention of the audience in the unfolding circumstance”
(Beckerman 111). Obtaining the attention of the audience is known as dramatic illusion.
Beckerman adds that if the “illusion is an imitation of contemporary life, historical life, or
mythical life, the action and characters must achieve a level of reality sufficient to involve us”
(Beckerman 111). The most notable characteristics of Elizabethan acting included the practice of
Elizabethan rhetoric, the theatrical traditions, the playing conditions, the human character and
behavior in society, and the playing materials. The playing materials would be the actual roles of
the characters and the actions of the stories. The Elizabethan rhetoric refers to the art or
techniques expressed from oral or written communications (Beckerman 113).
The Elizabethan era displayed an intense struggle to keep the art of theatre alive. As
illustrated by Cerasano, he notes that “despite the periodic setbacks of plague closures and the
occasional threat of government intervention, the theaters had learned how to survive, providing
a relatively secure space in which actors could collect a fee from every spectator, and offering a
dependable space in which playwrights and players could collaborate” (Cerasano 47). During
this time it was possible to begin a relationship between actors and audiences developing a new
type of professionalism, or what Cerasano calls, “the new model actor” (Cerasano 47). The
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stable venues of the Elizabethan time period provided enjoyment to the fans of the players
repeatedly on a familiar stage (Cerasano 47). This theater set up provided the development of the
term one day called the ‘celebrity’. The actors of the Shakespearean era set the foundation for the
“fame culture” to develop in their theaters (Cerasano 56). The demand for a favorite actor or play
was realized by the people and they noticed that if they grouped together they could see more of
their favorite actor.
The power of the Shakespearean plays during their time period was translated to the
people through the “representational power of the text” (Schalkwyk 634). The meaning of the
plays was easily expressed through the message delivered by the dialogue of the actors.
Schalkwyk concludes that there was tension between the players, the dramatist, the actor’s voice,
and the author’s pen (Schalkwyk 634). This could have been a direct result of a lack in
organization and leadership roles during the time period. Actors learned a strong sense of the
individual character and that it is shaped by its reflection in and through others (Schalkwyk 635).
A variety of documents gives great credit to the theatre and its development in the late 1580’s.
The article written by White examines the “great drama” of the 1580’s suggesting that the
Elizabethan theatre suddenly burst into the scene (White 267).
The Chamberlain’s Men, also known as the King’s Men were a very developed group of
actors. They produced a series of six plays which had never been done before. The acting
company or troupe had the power to perform the series even though the audience was not
developed for it in the past. The players in this acting troupe had the power to perform the series
even though the audience was not yet developed for it. However, that was the past for the theatre
and new innovations were changing the popularity and importance of theatre to people. The
players in this acting troupe were learning about the portrayal of their countries historical past.
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The actors were able to re-enact serious events while also making them comedic. They created a
new form of popular entertainment while at the same time conducting a type of national selfawareness. The playhouses became capable of transforming a show for entertainment into a
show about culture (McMillin 210). Ultimately, the approach about the subject is possible based
on our ideology and when we have a new ideology we produce new approaches (Danson 334).
In Conclusion, surprisingly there are vast amounts of information about the time period
known as the Elizabethan era and Shakespearean era. Only a few details are missing about that
time period which is amazing considering the effects of the plague. This time period was also
over four hundred years ago and the literature was created by ink and paper. The fact that these
stories have survived is in fact incredible. The citizens of London were just as amazed with
drama as we are today. Perhaps it was at this time that people began to understand the real power
and importance of the dramatic arts. Somehow today there is still doubt about the actual
existence of William Shakespeare. However after conducting my research I believe him to be
true and one of the most talented writers of all time. A question that is unanswered is why
William Shakespeare was living on the same property as the Globe? Did his family live there
prior to the construction of the theater or did he move there just to become a shareholder? It is
true that there is not a great amount of detail about William Shakespeare at the time. But you
have to take into account his schedule for writing and staging his plays. If he stayed busy behind
the scenes then of course not much would be known of him. Prior to conducting my research I
did not know about all of the lawsuits and financial burdens surrounding the Globe. I believe that
if the Puritans did not intervene with the existence of the theatre then it could have been possible
for the Globe to remain standing for at least a couple hundred years. Since it was a part of the
lease for the renter to maintain upkeep of the buildings the Globe had a promising future.
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However the existence of the Puritans and the Plague made it difficult to keep the art of theatre
in existence. Artists fought hard to keep the passion for the theatre alive and when the Puritans
lost their power the popularity for theatre can back quickly and spread with the new idea
presented in the Restoration.
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Works Cited
Adams, John Cranford. The Globe Playhouse: its design and equipment. New York: Barnes &
Noble, 1961. Print.
Alchin, L.K. Elizabethan Era. March 20 2008. Web. Feb 28 2012. <http://www.elizabethanera.org.uk
Beckerman, Bernard. Shakespeare at the Globe 1599-1609. Toronto: Collier Books, 1962. Print.
Berry, Herbert. Shakespeare’s Playhouses. New York: AMS Press, 1987. Print.
Cerasano, S.P. “Edward Alleyn, The New Model Actor, And The Rise Of The Celebrity In The
1590’s.” Medieval & Renaissance Drama In England 18. (2005): 47-58. Academic
Search Complete. Web. 2 May 2012.
Danson, Lawrence. “Recent Studies In Elizabethan And Jacobean Drama.” Studies In English
Literature (Rice) 23.2 (1983): 329. Academic Search Complete. Web. 2 May 2012.
McMillin, Scott. “Shakespeare And The Chamberlain’s Men In 1598.” Medieval & Renaissance
Drama In England 17. (2005): 205-215. Academic Search Complete. Web. 2 May 2012.
Orrell, John. The Quest for Shakespeare’s Globe. New York: Cambridge University Press, 1983.
Print.
Reynolds, George Fullmer. The Staging of Elizabethan plays at the Red Bull Theater: 16051625. New York: Modern Language Association of America, 1940. Print.
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Schalkwyk, David. “Shakespeare And The Power Of Performance: Stage And Page In The
Elizabethan Theatre.” Renaissance Quarterly 62.2 (2009): 634-635. Academic Search
Complete. Web. 2 May 2012.
White, Paul Whitfield. “Playing Companies And The Drama Of The 1580’s: A New Direction
For Elizabethan Theatre History?” Shakespeare Studies 28. (2000): 265. Academic
Search Complete. Web. 2 May 2012.