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CHAPTER - II
SHAKESPEAR'S THEATER
The theatre of Shakespeare‟s day was the culminated of a long development
and the amalgation of many desperate influences. It was also known as the
accurate mirror of the diversity of Elizabethan period‟s life.”1 The expanding
intellectual horizons of the Elizabethans were evident in the materials of the
playwrights. Geography, history, mechanics, recent inventions, popular science,
legislation, preventive medicine, as honomy, natural history, civic affairs, and
gossip all found their way into the theatre, to be consumed with avid interest by the
audiences. In addition to its capacity for welcoming all lands of information the
Elizabethan audiences- like perhaps no other was merald by its devotion to the
spoken word. Listening was easier than reading and the audience was quick to
respond to oratory or repartee.”2
LONDON BECOMES THE CENTRE:
The Sixteenth century
Englishmen could see dramatic performances throughout the kingdom, but
playhouses were built only in London. Some nameless businessmen of vision
aware of the growing popularity of the plays rented a few of the large inns in
London and made them permanent playing places, erecting permanent stages in the
Innyards, this development permitted very much better staging, the use of more
properties and a measure of
1
2
On stage- A History of theatre by Vera Mowry Roberts published by Harper and Row, New York Evaston Page-138.
ALB RIGHT, VICTOR E., The Shakespearian Stage, Columbia University Press, New York, 1909. Page-158.
security for the acting companies."1
London now had real playhouses and the drama was even more for the
natural amusement.
The eight public playhouses including the hope, were in the order of erection:
(i) The Theater (ii) The Curtain (iii) The Rose (iv) The Swan (v) The Globe
(vi) The Hope (Vii) The Fortune (viii) The Red Bull"2
(i) THE THEATER:- The property was leased on April 13,1576 by Giles
Allen to James Burbage of the Carl of Leucister company who spent, according to
a statement made in legal papers, 600 pounds in constructing a play house. It was
built of wood and was probably round in form with gallery about the plot in the
center, like the other public play houses, but no picture of it survive" 3. Stockwood
in his sermon at Paul's cross, august 1578, calls it ''The gorgeous playing place'
erected in the fields when the base expired in 1597, are dispute arose between
Allen and Cuthbert and Richard, the son of John Burbage renewel. During the
dispute, 1597-98 the Burbage still remained as tenants, but the finally took
advantage of their rights in the base and in December to January 1598-99, they pull
1
2
3
Adams, Joseph Quincy, A life of William Shakespeare, constable and company, Ltd; London, 1923. Page-74.
A short discourse of English Stage, 1664, reprinted by Spingarn, critical Essays of the Seventeenth Century. Page-92.
Baker, George PTERCE THE DEVELOPMENT of Shakespeare as a Dramatist, front piece of London in 1610. Page-160
down the theatre and carried the timber to the bank side where they used this
material in erecting the GLOBE''1
(ii) THE CURTAIN:- Within a few months of the building of the theater in
1576, the Curtain was built close by probably on the south side of Holywell Lane.
Both the playhouses are very small but clearly round in shape' and it was doubtless
very like the theater and the letter Swan and GLOBE. The name, curiously enough,
has nothing to do with a theatrical curtain, but had long been applied to the land on
which the curtain was built. It was in control of Henry Laneman in 1585, when he
entered into an arrangement of Burbage of the theater to share equally the profits
of the two play houses for seven years. Various companies occupied the
playhouses during the Elizabeth's regin."2
(iii) THE ROSE:- The rose is the first theater known to have been built on bank
side, but the exact date is not certain. In 1585, the lease of the property, known as
the Little Rose, north of maiden lane on the corner of Rose alley, was assigned to
Shilip Henslowe and on January 10, 1857, he formed a partnership with John
Cholmley looking towards the erection of a playhouse on a parcel of this, ninety
five feet square and already containing a small tenement. Probably the playhouse
1
2
As above. Page-161.
C.W. Wallace, "First London Theatre," University of Nehraska Studies 1913, P-149.
was built immediately; at all events the Lord strange's men were acting there on
February 19, 1592, when Henslowe opened his account with them in his diary; a
book destined to be one of our main fouru's for the stage history of its period.
There are building accounts in the dairy dated 1592 but in the opinion of Mr. Greg,
these referred to extensive repairs rather than to the original building from them.
We get only slight information about the house, which was of wood, round and
opened to the sky in the middle, but with a thatched roof over the galleries. In
addition to the galleries, there was tiring room in the rare of the stage, a ceiled
room over the tiring room (probably the balcony at the near of the stage but
possibly a hut like those of the Swan and GLOBE) a lords room or box ceiled and
are most for the flag. Later repairs in 1595 include making the throne in the
heavens and seem to imply considerable alteration about the ceiled room.
Henslowe's diary given an extensive, though not complied, account of plays and
accompanies at the rows until 1603. In 1605, Henslowe's lease expired and we
don't know what arrangement was made in regend to the theater. Henslowe's sonin-law, Alleyn, paid tithes on the property in 1622 and it was used for prize fright
after 1620."1
1
ADAMS, JOSEPH QUINCY, A Life of William Shakespeare, Constable and company Ltd, London 1923, Page-120.
(iv) THE SWAN:- The Swan was built about 1594 by Francis Alangley, a well
to do property holders. From Vicher's view and the map published by Rendle it
appears to have been a twelve sided building similar in the external appearance to
the other's theater on the surrey side. It was doubtless used for plays, 1595-97 and
was occupied during parts of 1597-98 by the Lord Pembroke's men"1. Hentzner,
another traveler declared in 1598 that all the theater were of wood."2 Again, it
seems impossible that the Swan could have held three thousand persons; one half
that number would have been the maximum. If the description is inaccurate, how
about the picture? That rests on no very authentic evidence. It is of uncertain date,
based on hearsay evidence, drawn forms description and not forms any direct
observation. The drawing indeed represents things which could not be seen at the
same time from any single point of view. It is, moreover, self contradictory, for,
while the stage is evidently removable, it sustains the pillars which support the
heavy superstructure. Further there is no sign of curtains such as appear in the
pictures of Elizabethan stage; and such as appear in their pictures of Elizabethan
stages and such as are known to have existed in most, if not all of the theatres. The
drawing, however, presents the leading features common to Elizabethan theaters.
The circular interior, the three tiers of galleries, the stage extending into the pit, the
1
2
C.W. Wallace, " The Swan Theatre and Carl of Pem broke's servants", English she Studies,1911, New York Press, Page-152.
The Universal review, June 1888, Quote in Ordesh-268.
balcony in the near, the two doors, the hut overhead, the flag and the trumpeter, the
heavens or shadow supported by pillars - were all the usual accessories of the
public theaters. The hangings curtains" of the Swan are alluded to in a letter of
1602, but it is possible that there were curtains in 1596. The movable stage
confirms other evidence that the playhouses was used mainly for non-dramatic
entertainments and lesson the importance of the Swan as a representative theater."1
(v) THE GLOBE:- Directly east of the Hope and on the North side of Marden
Lane. The Globe was built in 1599 by the Burbages, in part from the timber of the
theater. It was round, with a thatched roof over the galleries; and its general
construction is known to us, because the fortune, built in the succeeding year, was
according to its contract, in most respect modeled after the Globe. In 1613, during
a performance of a new play, "All is true". Set forth with many extraordinary
circumstances of pamp and majesty, even to the matting on the stage, it caught fire
and burned to the ground, the actors and audience escaping in the difficulty
through its two narrow doors. It was at once rebuilt, octagonal in form with a tiled
roof more substantial construct`ion and a more ornamental interior. The first
Globe, the home of Shakespeare's company had been at the time it was built the
finest public theater in London, and the new Globe reasserted this primary. Though
the King's men now used the Blackfriars as their winter theater, they continued to
1
Chamberlains letters,Camden stc.,-163
act in the Globe during the summers until the civil war. It remained the home of
drama long after the other playhouses on the Bankside has been given up to the
other purposes. In 1632 Donna Hollandir, looking forth from her fortress - one of
the Stews-beheld the dying Swanne, hanging down her head, seeming to say her
own dirge" and the Hope, which "wild beasts and gladiators did most posses"; but
the Globe was still the continent of the world, because half the year a world of
beauties, and have spirits resorted unto it." The house was pulled to the ground on
April 15, 1644."1
(vi) THE HOPE:- The hope, built in 1614 for Philip Henslowe, was according
to Vischer's view an octagonal structure. The building contract required that it
should but closely modeled on the Swan. It had external staircases leading to the
galleries, a removable stage supported by the main structure and not by pillars as in
the Swan, foundations of brick, and a tile roof. It was designed for bear baiting as
well as the drama. The lady Elizabeth's men acted there certain days of the work
for a year or two; but no plays, so far as we know, were given after 1616. It was
standing in 1632 and was used for prize fights and bull baiting as late as 1682."2
(vii) THE FORTUNE:- The building contract for the fortune given us the
fullest details which we posses in regard to the construction of any Elizabethan
1
2
Collier, Life of Shakespeare, CC Xiii, C.W.Wallace, London Times, April 30May,1914.
W.W. Greg; H.D. "66-68 for contract, henslowepaper, mun-149
theater. It was square measuring 80 feet each way on the outside; and 55 feet on
the inside, the difference allowing for large galleries. The framework was wood,
the foundations of brick, the three stories 12, 11 and 9 feet in height, the two upper
stories overhanging ten inches and the galleries were 12 feet 6 inches in depth.
Four divisions were made for the gentlemen's rooms and others for the two penny
rooms but the locations are not specified. The galleries and rooms were provided
with seats; the rooms had ceilings; and the homework of the whole interior was
lathed and plastered. The galleries and stage were roofed with tiles, paled with oak
and floored with deal. A shadow or heaven over the stage is not described; so we
cannot tell whether it was supported by pillars or not. A tiring room was provided
in the near of the stage, taking the place of the gallery and perhaps built out in the
rear. The width of the stage is specified as 43 feet, and it extended to the middle of
the yard - 27 1/2 feet deep to the gallery 40 feet to the rear wall. This gave a space
in the pit of six feet between the stage and the gallery on other side. In all points
unspecified the building was to be like the Globe; except that all the chief supports
were to be square, "wrought pilaster wise with" carved proporeons called satiers";
referring probably ; to the pillars supporting the galleries. Alleyn's memorandum
book states the expenses of the property as L240 for the lease, L520 for building
the playhouse, L440 for obtaining freehold of the land, L120 for other buildings,
making a total of L1320. The fortune was occupied immediately after its erection
by the Lord Admiral's men, who became the Prince's men at the accession of
Jamist and long continued one of the chief companies. On December 9, 1621, the
fortune was burned. The new theater, completed in 1623, was round and of brick.
Wilkinson reported that the building was still standing in the first years of the
Kitain century; and published in his "Londina illustrater" a picture that has often
been reproduced. But this cannot have any resemblance to the round fortune of
1623, though it is barely possible as Wilkinson asserted that portions of the
galleries of the old playhouse were still recognizable in the interior of the building
of 1811. In 1650, the people of St Giles petitioned for permission to use the
dismantled theater as a place of worship, with that result we do not know. In 1661,
the whole property was advertised for sale."1
(viii) THE RED BULL:- The Red Bull Theater was located in Clerken well on
the upper end of St John's Street, but the exact state of its building is not known.
There was a performance of a puppet show in St John's Street (on August 23,
1599) during which the house fell and two persons were killed; and there was some
sort of a building perhaps an inn, known as the red Bull, prior to the building of
the playhouse, for in that year, it was leased by the builder, Aaron Holland, to
share holders, including some of the Queen's men. The patent to the Queen's men
1
Lawrence,William J.,"The Elizabethan playhouse and other studies, Shakespeare Head press, Stratford on AVON,1912 page- 157-158.
dated 15, 1609, authorizes them to act "at their usual houses of the curtain and Red
Bull". As the proceeding patent of 1603 mentions the Boar's Head Innyard as the
second house it is probable that the Red Bull was built between 1603 and 1605
and first continued there. In 1633, it had, according to Prynne, been Lately,
"reedefied and enlarged." The picture published in Kirkman's "wits" (1672) and
often republished as "the interior of the Red Bull theater," has no authenticity". We
learn from Howes that the Red Bull was a public theater; hence it was probably
like the Globe and the Fortune in general construction. It sought patronage of more
vulgar audiences than the Globe, Fortune, or the private theaters, and was the
constant objects of girds at the vulgar and sensational character of its plays and
acting. During the Protectorate there were varies attempts in 1648,49,54 and 55 to
reopen this house. Inspite of orders commanding the offers to "pull down and
demdish all stage galleries, seats, and Boxes, esected and used such stage plays", it
survived until after the Destoration. According to wright's "Historia Historionica,
the a king's players acted publicly at the Red Bull, after 1660; but by 1663,
according to Davenant, "the house was standing open for fencing, no tenants but
old spiders."1
In addition to those public playhouses which were not typical of the period,
there were Sundry roofed in theatre called, for no clear reason, " Private". Such
1
Lawrence William J,. Old Theatre days and ways, George G Harrap and Co,Ltd., London, 1935. page-72.
was black Friars. Shakespeare's troupe finally installed a "men's company" in the
house in 1608.blackfriars had been converted from the original "great hall",
assumed to be across one end of the narrow dimensions, since by this time,
Italinate scenery was in use in court theatricals. It had benches for the whole
audiences."1
Other private theatres were Whitefriars, salisbury court, the Phoenix in
Drury have and the co-depit-in-court; the Lalter designed by Indigo Jones, used a
permanent architectural setting in the Italian mode."2
1
Lawrence, William J., "Pre Restoration stage, Studies Harvard university press, Cambridge Mass 1927, Page-96.
JONES, INIGO, Designs by Inigo Jones for Masques for the Walpole and Malone Societies, University press, Oxford
1924, Page - 185.
2
Evolution of the platform and tiring house: first level. Theatre(1576) and Globe(1599) plans
compared. (From Adams, The Globe Playhouse. Courtesy of Dr. John Cranford Adams and
Harvard University Press.)
ARCHITECTURAL PLAN OF THE GLOBE:
Globe stage met all the requirements of Shakespeare's theatrical performers
persisted in Globe in a modified form. The major part of the acting area consisted
of a platform stage jutting out into the auditorium round three sides of which the
audience could gather. In the wall behind the stage, a certain number of spectators
could be seated in balcony of the second level of the building. Later on this
audience area, known as the lords-room was incorporated into acting area. The
lords and upper society elite used to sit on the either side of the stage. The ground
floor of this theatre was elongated, horse-shoe shaped constituted the auditorium
with stage across the end.
In case illusion became an indispensable element in dramatic presentation,
then the less identity of actor was designed by make-up. This was realized in the
classical theatre of Greek and Rome. This principle is responsible for the adoption
of masks for the actors. But even then leading actor become an increasingly
important figure in his own right. Today the star system actually publicizes the
personal life, traits of character and idiosyncrasies of the personality of the leading
actor foster in interest in the actor which far exceeds the role the actor plays.
However for the need of certain amount of illusion there is a need to prevent the
mingling of audience and actor in the theatre itself. Hence the stage doors were
Evolution of tiring house: second level. theatre(1576), Rose(1592-1595), and …….(……-1599) plans compared. From
Adams, The globe Playhouses. Courtesy of Dr. John Cranford Adams and Harvard University PRESS)
carefully guarded and the audience were separated from stage by an arch pit.
The doors of the auditorium were also helpful in collecting the entry money from
the audience. In this way audience used to pass in a single file without creating any
disturbance for the actors."1In the Globe 2 Burbage made two separate doors on the
either side of auditorium for the exist of the audience and one more door at the
back of the stage for the exist of the actors. Later on box-office was added to
collect entry money. A visibility focal-length was kept in view for the audience
who used to stand in a pit in front of the stage, for those who used to sit at the rear
of the auditorium or in upper tiers. Consequently the level of the auditorium was
raised for row-seaters. The side galleries of the in yards influenced Burbage. He
constructed side galleries in the auditorium which offered greater safety and
comfort to the audience. He made the auditorium multitier. The second gallery was
added for nobility, while maintaining the visual focal length.
The first gallery was two and a half feet above from the floor of the Hall.
Hall space below gallery was called yard. "It is possible that in the yard itself the
amphi-theatre survived in a modified form. It sloped down to the stage from all the
three sides, thus allowing the gallery seaters to see above the heads of pennyseaters."
1
GILMAN, ROGER, Great styles of Interior Architecture with their Decoration and Furniture, Harper & Brothers ,
New York, 1924, Page-28.
Reconstructed plan of the Globe: second level. (From Adams, The globe playhouses Courtesy of Dr. John Cranford
Adams and Harvard University Press)
The Theatre and then Globe were in octagonal from. This pattern was
followed by Burbage to have more acting area, tiring rooms, as well as to
accommodate the elite-audience in the circular galleries. Shakespeare preferred
"Octagonal instead of quadrangular, and in this he was probably influenced by the
amphi-theatres used for baiting of bulls and bears; but in the main his pattern was
the inn-yards and the building that he erected as practically an inyard without the
inn. The fact is that Burbage had seen and had studied every place of performance.
He finalized the Globe keeping in view where the performers were comfortable
and could perform smoothly. His design was a land mark in the art of theatre
architecture which assimilated the ancient and the requisite contemporary
theatre."19
Both Shakespeare and Burbage were unable to find adequate finances from
the theatre. Therefore they jointed hands with leading actors of Lord Chamberlain's
Company which, later, was known as King's Men and formed a syndicate. With
smooth flow of finances the theatre was provided with all that which theatrical
production demanded. Therefore Stages were made by constructing the Globe. The
areas of Inner Stage, rear stage on the first level and the chamber on the second
level were enlarged to accommodate scenes pertaining to wars, supernatural effects
and storms. This area was doubted with better light and improved sight line. Now
there was more space for realistic wall hangings, windows were added to the rear
stage. It became easier to set climatic scenes. This unit of stage survived to modern
age and has helped to point the way to the proscenium stage with its changeable
Reconstructed plan of the Globe: third level. (From Adams, The Globe Playhouse Courtesy of Dr. john
Cranford Adams and Harvard University Press.)
settings. In the very next year If the completion of Globe an other theatre
following its architecture came into being named Fortune.
Stage:
The first permanent stage was constructed in the theatre in 1576
and Later on with more provisions in the Globe in 1599. This stage 43 feet wide,
29 feet deep and 4 feet 5 inches in height. It was projected half way into the yard.
Traps
In Elizabethan theatrical productions machinery was used for raising and
lowering demoniac personages. There was as many as five traps in platform stage,
one in each of the four corners of the stage and the fifth was one long narrow trap
at the rear or inner stage which could bear eight persons. There used to be usually
noise while 'lowering' and 'raising' performers with the help of the machines. This
noise was encountered with the help of 'music' or 'thunder' sounds. Traps exist in
the modern British stage.
Entrance – Exit doors and Background
The first background of stage was used in Dionysus theatre. The background
stage was a wooden Hut, which was later on replaced by decorated 'skene'. In the
Elizabethan period Burbage was familiar with carved wood beautiful screen put on
background of stage in the Inns of Court and the University Hall. This background
had two doors one on each side known as stage doors. This pattern was adopted in
the Globe. These doors are still in use of British and European stage.
Curtained Alcove
The scenes in medieval English plays were of two types. One localized, the
specific just like a shop, house, place, court and the second unlocalized just as the
road, street, grave-yard etc. These scenes were separated by curtains. Unlocalized
scenes usually took place at the arc platform of the stage. The stage was closed
from behind with curtains. The localized scenes were performed on the main stage
with the help of curtain alcove, that space formed by setting of curtains. Generally
localized scenes were performed at the middle stage with curtains.
All parts of stage were covered with curtains. Even stage was divided into
two parts with help of the curtains. The inner stage or any other part of the stage
could be used alone or in combination. Each could be exposed to review, after
having set in advance with distinctive properties and hangings behind closed
curtains. It could be revealed again in different location. Here-in lay the means by
which Shakespearean drama achieved its uninterrupted flow of action; when one
group of actors brought a scene or sequence to its end at one stage unit, another
group stood ready to pick up the action without pause in another unit, "the click of
the completed rhyme of an exist tag was still audible, perhaps, as a new group took
up its discourse."21
Inner Stage
Inner stage was 20 to 25 feet wide, 10 to 21 feet deep and 12 feet high. This
had two doors and one window. It was closer to the audience in galleries. It has
curtained alcove. The inner and the front stage in combination was called double
stage. The ballroom scenes in "Romeo and Juliet", " Much Ado About Nothing"
and then trial scene in "The Merchant of Venice" were exhibited on this inner
stage.
In the floor of the inner stage there was a long narrow trap-door known as
the 'grave' which could be used for ghosty apparitions rising besides beds.
Sometimes it was used as vault or prison also. However this platform which was
12 feet high; therefore to save performers from an accidental fall "A guard rail was
imperative to remind actors of the 12 foot drop to the platform below and to
prevent their accidently falling off."22
Reconstructed plan of the Globe: Superstructure.(From Adams, The globe playhouses. Courtesy of Dr.
John Cranford Adams and Harvard university Press )
Balcony Stage
Action taking place of two or more levels, separately or simultaneously was
provided on Greco-Roman stage. Three levels were also used in Church drama.
There is a description of cycle-plays and pageant shows having "hell's mouth" on
stage beneath an upper stage. In the Innyards the second floor with its gallery was
above the back of the platform stage. The framework of the Elizabethan theatre
with its three floor levels, which continued around the entire building, gave three
levels to the background of the stage. It was since long that acting was performed
on different stage levels.
Balcony stage was frequently used in chronicle plays. It served to present
'castle', 'battles' 'city walls' and 'public buildings'. It was sometimes used as 'bedroom' and sometimes as 'prison' 'upper deck of ship', 'private room of "tavern" and
'upper halls of palace". The use of upper stage was stopped in Restoration period
but again it has been revived in modern period in 1930s. These upper stages
provide continuity to the action of the play. In "King Lear" action shifts between
France and far off heathen lands. It was exhibited with the help of multi-tier stage.
Sometimes one actor has to take part in two consecutive scenes. The
scholars have marked it as law of Re-entry. This ensures that two sets will be ready
on different stages. The same actor will quit first stage at least before the 10 – line
dialogue is spoken in the previous scene and re-enters when just 10 lines are
spoken in second set or the curtain is opened with appropriate music and sound
effects. "If any character appears in two consecutive scenes which occur at places
presumed to be at some distance from one another, he must, in order to make his
remove seen in a scheme of dramatic time, either make his exist from the stage at
least ten lines before the close of the earlier scene or delays his entrance to the later
scene by at least ten lines. This law was seen when in "The Merchant in Venice"
Portia and Nerissa re-enter after a change for court scene as Doctor of Law and his
clerk."23
Window Stage
The slanting sides of the Globe, having doors, permitted two other units in
the acting area. These were by bay windows on the second level immediately over
the doors. When these windows were open, one or two actors could stand in the
bay and could be seen, down to the waist line at least. With curtains at the back,
these days formed small stages in themselves. Jutting out above the doors and
supported by slender columns, they formed penthouses or porches below, giving
the effect of a very convincing house unit for such house as used in Jessica's
elopement in "The Merchant of Venice". If the wing curtains on one side of the
balcony stage were open, this window stage could then be a window-recess,
extension of the balcony stage. The windows were used in balcony-bedroom
scenes as in "Romeo and Juliet".
The Tarras
The Globe playhouse had four acting areas on the second level : a curtained inner
stage, immediately below it lower stage, shallow balcony, window stages and rear
stage. Shakespeare used the word Tarras (modern terrace) only once in stagedirection in "Henry VI" Act IV scene ix "Enter King, Queene and Somerset on the
Tarras. "The tarras usually served to represent an elevated area out of doors. Its
traditional and most frequent use was, of course, as the top of a defensive wall. It
was so used by Shakespeare again and again, particularly in the early plays. Five
times it served as castle or city walls in "Henry VI" once in "Titus Andonicus"
"Richard II", "Coriolanus", "Timon of Athens" ............. Brutus and Marc Antony
addressed the Roman populace ............ from Tarras."24
Gallery for Musicians
The third level of the structured plan of the Globe carved yet another stage unit as
Musicians' Gallery. It was tradition to place musicians and choristers high up on
battements in castles.
The highest place in the theatre then was obviously the place for the musicians,
who, stationed in this small window gallery behind opaque curtains, could furnish
the play with incidental music. John Cranford Adams has given a lovely
description of Prespero "directing the actors and musicians in the apparition scene
in the musicians' gallery to be not only theatrical effective, but most advantageous
for the management of a very complicated scene.
The music came from a point aloft but the musicians were unseen. Their
concealment by curtains seems to have to been thought necessray both, because of
a visible human source of celestial music would be dis-illusioning and inartistic,
and secondly because they were "frequently called upon to descend singly or in
groups to provide an incidental music or an accompaniment for songs in one of the
lower stages as in "The Merchant of Venice" V(1), "Much Ado about Nothing"
(iii) "Cymbeline" II (iii) "Othello" III (i), and "The Two Gentlemen of Verona"
IV(ii)."
The musicians usually moved down to a window-stage so that their music
might be heard more clearly by the audience as well as by actors."25
2.4
Miscellaneous Stage Areas
Weather conditions in open-air theatres have always been major problems as the
audience and actors have to a be provided shelter against rain and sun. The ceiling
line of the third level of the tiring house uptominstrel's gallery to half over the
platform stage was a shelter for the actors known as "shadowe." This was
supported by two stout pillars above. These pillars resembled marble columns.
These pillars were sometimes painted in accordance with the locale of the play.
The ceiling of the structure which would be visible from the below was often
painted to resemble star-spangled sky. It was referred to as 'heaven.'
The 'shadowe' was a tiring house for the actors. This was half-way down the
platform stage and was sometimes used for entrance of the actors playing minor
roles. Even cosmetics and costumes needed for immediate change were stored in
this 'shadowe.'
Huts
Machinery for lowering of actors from above together with "clouds", "birds" had
been a feature since earliest times. Such machinery, in order to maintain some
essential dramatic illusion, was to be kept invisible, a superstructure was
constructed above shadowe or tiring room. On this super-structure the hand
worked heavy machinery was placed. Heavy properties were placed on the stage
with such-machines. This machinery was covered under the "huts". Heavy
properties included double throne, and huge beds. The huts also provided storage
for sound-effect properties; for cannons and fire-works and battle properties. The
hut was lowered upto the inner-stage and rarely at middle stage. One could stand
on this super structure and used to sound trumpet to announce the commencement
of the play. Hut seemed to have had two gables forming a wide spread 'M' like
figure with two windows in each gable."26
Bell Tower
View of the London" 1616 shows the Globe as having two rectangular 'huts' with a
tower rising above them"16. This tower apart from being an excellent place on
which to mount the flag-staff, also served to house one of the most effective
properties used in Shakespeare's plays-the big bell whose tolling, clashing and
chiming must have been heard across the Thames in the city itself.
Property Room
The backstage area of the Globe was very extensive. There was excavated "Hell",
there were plenty of rooms as dressing rooms and property rooms. There was tiring
house facade behind the gentleman's rooms on the first and second floors, and over
the gentleman's rooms on the third floor."27
2.5 Staging Shakespeare's Plays
John Cranford Adams has re-structured the plans of original Globe
Playhouse. He has given all measurements of the stage and has studied where the
scenes of various Shakespeare's dramas were performed. His study of "The Globe
Playhouse " has been corroborated by the Joseph W. Scott the Technical Director
of the Illini Theatre Guild, University of IIIinois. In accordance with it the facade
of the stage is constructed in standard units. The fore-stage is extended out over the
orchestra pit and the first rows of seats. When the action is performed on fore-stage
the next scene if required is set on middle or rear stage. The standard setting of
stage helps for quick setting of scenes. Each scene was set at the minimum cost so
that the production proves commercially viable.
Fore- Stage
All unlocated scenes that take place in streets, on plains or in forests are played at
fore-stage. Just as the scenes of "Henry VI" Act V scene 2-5, "As you Like It" Act
III scenes 2-5 " Othello" Act 1 scene 2, were played on fore –stage. These scenes
did not require any background. Only "supposedly" building is required around
such scenes. Siloloquies were also delivered at Fore-stage.
Middle Stage
“The Taming of the Shrew” Act II scene 1 & III, “Hamlet” Act II (2) Act IV
(3) were played on middle stage as the consecutive scene-setting was required.
These are semi-located places such as court yards, inside of castle, front of the
house. In addition to it back-ground was needed which was put as screen.
Inner Stage
In the scenes of battles, pageantry, crowds both inner and middle stages were used
as in “ Romeo & Juliet” I (scene 3), II (scene 3) “ Henry VIII” II (Scene 3) and “
Much Ado About Nothing” Act I (Scene 2). Some of the interior scene requiring
second floor like castles and palaces are exhibited on inner stage only.
Balcony Stage
Scenes played by one or more persons on the second level who talk to others
standing below will use window stage or balcony stage “Romeo and Juliet” Act III
(Scene 5)IV (scene 3) “ Hamlet” Act III (scene 4)
Tarras Stage
All out-of- door scenes that occur at an elevation on city walls, on bettlements, or
in an ante-chamber adjacent to an upstair apartments; take place on tarras.
“Winter‟s Tale” Act II (scene 2), “Richard III” Act III (scene 5) and all scenes and
on city walls and battlements take place on Tarras Stage.
To manage the more complicated scenes several times the combined
stages were used. The flow of action continued uninterrupted and secondly more
space was available to the actors.
Middle and Fore-Stage
“ The Merchant of Venice” Act IV (scene 1), “ The Winter‟s Tale” III (scene 2),
“Othello” Act 1(scene 3) “A Mid Summer Night‟s Dream” Act 1(scene 1).
Middle and Inner Stage
“The Merchant of Venice” Act II (scene 7,9) “A Mid Summer Night‟s Dream” Act
II (scene 2).
Middle and Balcony Stage
“Rome and Juliet” IV (scene 5). The Nurse, by Julie‟s bed on the balcony, was
joined by Copulet and Lady Copulet. Friar Lawrence and paris arrive below and
then go up to the balcony, leaving peter and the Musicians belo
“Antony and Cleopatra” Act IV (scene 4, 13), “Hamlet” Act III (scene 1).
Middle Stage and Tarras
The demarcation and use of such stage helps a production: one; action is
uninterrupted; two; complicated scenes are managed easily and the theatrical
action flows smoothly; three, aesthetic fitness of the scene is maintained; four,
more space is available for acting area, audibility and visibility remains proper and
adequate. Flow of music in all directions is spontaneous."28
THE PHYSICAL STAGE
Plan of the lower stage, showing also the relative posi-tion of the “hut” and
shade. Broken lines indicate the “hut,” dotted lines the shade, and waved
lines the curtain. jj are the stage posts, xx the proscenium doors, dce the curtain, yyyy the „„wings,‟‟ higedf the outer stage, deut the inner, rjjs the
„„hut,‟‟ and jopj the shade. The distance from h to i is 15 feet, f to g 39 feet,
GROUND PLAN OF A SHAKESPEAREAN STAGE
a to c 26 5/6 feet, j to j 20 feet, j to o 6 feet, j to r 20 feet, d to e 25 feet, and
b to c 10 feet.
1. Plan of the upper stage, showing also the relative posi-tion of the
projecting „„hut‟‟ and shade. The line marking is the same as in I. ww are
the balcony window, deut the gallery, dce the gallery curtain, and zz the
gallery doors. The distance from d to e is 25 feet, and d to t 10 feet.
Plan of the „„heavens.‟‟ This represents one plane formed by the base of
the „„hut ‟‟ and the ceiling of the gallery and shade. The broken line
indicates the connection of the „„hut‟‟ and shade, and the waved line the
suspended gallery curtain. The dimensions of the „„hut‟‟ and shade been
given in I, and the gallery in II."29
MINOR FEATURES OF THE STAGE
The various minor features of the stage may be enumerated. (1).The
proscenium doors must have varied somewhat in their position in the
different theatres; thus existence is inferred from the numerous stage
directions which make it clear that they must have been placed on either side
of curtain. (2)The windows and balconies over the doors are not shown in
any picture, but their existence is suggested by many scenes, especially in
seventeenth century plays, A person in one of these balconies could see the
inner stage, or be seen from it. Moreover, the person so located would be
clearly visible to the spectators in the theatre. These windows over the doors
consequently proved more serviceable than the rear balcony. (3) The
balcony at the rear, over the inner stage, seems to have been less used in
later than in earlier plays, and it appears in Restoration. In the earlier plays,
it appears frequently as the wall of the city or tower; but when not required
by the action of the play it seems to have been used for spectators or perhaps
musicians. (4) The hut shown in the drawings of exteriors of the public
theatres must have been replaced by an upper room in the private theatres. In
all spectacular plays there is a good deal of ascending and descending, and
the upper room or hut will be frequently employed. (5) Trapdoors seems to
have been located in several places in the front stage, on the inner stage and
in the balcony.
(6) Besides, the main curtains, others were employed for specific purposes,
the gallery was curtained and used as a place of concealment; beds were
provided with curtains, finally, there were occasionally traverses, or curtains
running at right angles with the rear of the stage.
(7) Of the dressing or tiring room, little is known small space was required
in comparison with a modern theatre; but it seems probable that in the later
private houses more room was provided than is indicated in our diagram.
From the terms of the contracts, one might suspect an addition in the rear of
the stage of the fortune and hope."30
A few other details may complete the picture. The pit was
without seats in the public theatre, but was provided with benches in
BlackFriars and the later indoor theatres. The floor was not build on an
incline, so far as we know, although possibly. The later theatres may have
had sloping stages, as did some of the Masques. The private as well as the
public theatres had galleries. Foot lights were not used, but in the private
theatres the artificial lights was then considered brilliant. The candles were
of wax."31
STAGE PRESENTATION
The outer stage, with the curtains closed, was without scenery, settings, or
properties, and was used for unlocalized scenes. Not only scenes in a street,
open place, or before a house could be represented here, but any kind of
place in which there no properties re-quired, or else where they were so few
and simple that they could be easily brought on and off. The inner stage,
shut off
by the rear curtain, was used for definitely localized scenes
requiring heavy properties. When the curtains were drawn, the setting, e.g.
for temple, shop, bedroom, or forest, was disclosed at the rear. If the inner
stage represented a temple or shop, the outer stage became a place before the
temple or shop; if the inner stage was occupied by a bench with judges or a
throne for the king, the outer stage became court-room, or presence
chamber. If the inner was bedroom, the outer became a hall or anteroom.
Indeed, any exact separation of the two stages became impossible, when the
curtains were once opened. The inner stage then became an integral part of
the outer stage, or rather the outer stage now embraced the inner."32
Action was by no means necessarily confined to the inner stage, and
might readily overrun its boundaries, inevitably seeking the front of the
stage If the scene was a bedroom, the whole stage might be regarded as the
bedroom; if a forest, the trees and banks set in the rear stage served to
convert the whole inner-outer stage into a forest. The inner stage, while it
might serve for a specific and limited space as a cave, shop, cell, might also
serve as a sort of back-ground for the outer stage. Doors to right and left of
the inner stage served for entrances and exits to the other stage, and could be
regarded as entrances to houses, cities, prisons, or whatever places might be
imagined within. There were also entrances to the inner stage, so that
persons or properties might be brought on and off without traversing the
outer plat-form. Over the inner stage was fa balcony- in some cases hung
with curtains, and serving to indicate any localized place above the level of
the main stage, - tower,city walls, upper room etc. Over the doors there were
windows or balcony. as windows of houses. The hut above and various
trapdoors in the floors of the , main stage, inner stage. and balcony, were
chiefly
used
in
spectacular
plays
requiring
gods,
devils,
and
transformations."33
THE PROBLEM OF THE INNER-OUTER STAGE
The chief problem in understanding Elizabethan staging is that of the outerinner stage. It is here that the English professional stage developed
a
procedure different from those on the continent. In Paris, when the
professional actors came to succeed the confreres at the Hotel Bourgogne,
they continued the methods and even some of the sets of that stage, thus
adopting a simplified from of the simultaneous setting. Curtains might be
used to conceal or discover properties but the stage would usually provide
for a number of different localities, as e. g. a bedchamber, a fortress by the
sea, a cemetery, a shop In Spain the simultaneous set did not continue in the
public theaters, which presented a bare stage. Curtains were here employed
to conceal and discover properties in rear ; but the fact that the stages of
Madrid and Seville were recesses and not projections would seem to have
prevented such a development of the inner stage for a background as took
place on the projecting platform in London."34
No one now thinks that the English stage had a system of multiple setting
like that of the Hotel de Bourgogne, although students differ as to the extent
to which multiple sets were used on the London stage. was merely a bare
platform: every one admits the existence of a curtained inner stage. On the
issue, however, of the use of this inner stage, scholars have differed
diametrically, and even now, after years of investigation and discussion.
little has been done to harmonize the two opposing theories. Each of these
theories is based on unquestioned facts of stage presentation, and can be
supported by much evidence and argument, and both in their extreme form
are demonstrably wrong and incosistent with general practice. One group of
scholars has emphasized the importance of the bare outer stage and
minimized the employment of the inner stage They have insisted on the
rapid changing of scene, the absence of properties, the incongruity of setting.
They have found plays where the scene changes with actors on the stage,
where faustus before the eyes of the audience passes at once from his study
to a pleasant green; and others where several places seem represented at
once. They have found other plays where the scene chaches from forest to
palace and then to street, and then back to forest, and have inferred that trees
and other necssary properties of the forest remained before the spectators'
eyes all of the time. They gave in consequence celed Shakespeare's stage
medieval, plastic, symboic, incongruous, and they have elevated its
occasional incongruity into a sort of principle of procedure.
The opposing theory or attitude has rightly made much of the inner stage as a
place for setting properties and indicating a change of scene by drawing and
closing the curtains; but it has tended to exaggerate the usefulness of this part of
the stage and its followers have exeted the change or alternation of sanes from
outer to inner stage into a fixed procedure of staging. They have indeed made it a
principle of dramatic composition and imagined the dramatists constructing their
plays as series of alt series of the alternating inner and outer scenes. The use of the
inner stage must be discussed at length in this chapter, but it may be remarked at
the start, that the alternation theory is not only without sufficient evidence, but
rests on the mis-conception that a large minority of scenes in Eliza-bethan drama
were definitely localized either on the stage or in the mind of their authors.
THE EVIDENCE FOR METHODS OF STAGING
The plays are rarely divide into acts, and still more rarely into scenes, except by an
„„exeunt omnes.‟‟ On the modern stage, the fall of curtair makes plain the division
between scenes and marks an interval for an imaginary change of place or time. Or
the Elizabethan stage, this break is indicated merely by an empty stage. Yet the
scene is a manifest unit in the constriction. In the early days, a single scene
sometimes covers a long lapse of time and moves from place to place. But as the
technic grows more certain, a scene is confined to one place and an interval of time
not much longer than the action. Lapses of time and changes of place are to be
imagined in the intervals between the scenes. Indeed if a lapse of time is indicated,
the persons who exeunt at the close of the scene rarely return immediately to the
stage on the beginning of the next scene. A speech or even a scene intervenes
before their reentry. This practice, which has been formulated by Prolss into a law,
has various exceptions, out is a natural result of an effort clarity in con-struction.
There is, however, no tendency to limit the number of scenes. Sometimes a scene
occupies an entire act, and in authors seeking to approximate to the unities of time
and place, the number of scenes is reduced; but in general a single play includes
many scenes. And there is no running on of scenes, except in so far as this is
accomplished by use of the inner stage."37
Is announced as „„a room in the palace‟‟ or „„the sea-shore,‟‟ and one accepts the
designation in spite of oneself. A great number of scenes are not localized in any
way whatever. There is no indication where the actors are, how they came, or in
what way they will depart. They may be indoors or outdoors, on a ship or in the
air, for anything that the text discloses.
A second class of scenes is only vaguely localized. They require no properties,
offer no business that will give us a clue, but we infer by the conversation or action
that they are in the neighborhood of the palace or else within it, or that they are on
a street or that they are within doors. The distinction between outdoor and indoor
scenes is rarely certain unless some properties are introduced."38
Scenery, lightening, Properties:
There was certain amount of built and painted scenery, flat and three dimensional
pieces on the Elizabethan Stage, but the scenery used at it had been in the medieval
period, rather than it is in modern times. The frame stage, which is entirely
concealed by a front curtain when the curtain is drawn up, it as if the wall of a
room has been removed, allowing us an intimate view of the going on inside. The
scenery in the modern theatre usually represented a definite place at a definite
time, a scene change being a major operation accomplished behind a lowered
curtain. the Elizabethan theatre, like the medieval, had no front curtain and the
platform stage was unlocalized; this is it was neutral ground that night represent a
public square, a forest, a street, or a seacoast, in rapid succession. this feat was
performed by a stagehand who, in full view of the audience carried on and off such
simple set pieces and properties as a rock, a tree, or a gate. In addition to these
significant and movable items, the lines of the play would indicate the localand the
time of day or night at the opening of each scene it was up to the audience to
exercise its imagination and supply the missing details in the décor. On this type of
stage, different times and places could. Succeed each other as rapidly as
stagehands and actors came and went."39
The inner stage and the chamber above it were curtained off, as has been said so
that it was possible for these areas to be furnished to represent definite places- a
bedroom, a prison, or a throne room. Painted canvas or tapestries were hung in the
alcoves to help suggest locale; if a tragedy was being performed, taperies were
black. Very often the inner stage and the platform were combined into single set;
the curtain would open and disclose, for instance, that the inner stage was a throne
room-king and queen would be seated on a two large guilded chairs and courtiers
stood about. As the scene progressed, the actors would move out of the alcove on
to the platform, thus giving the Elizabethan stage enormous flexibility, Variety and
interest."40
The Elizabethan play took two and one half to three hours to perform and was
presented in the afternoon from three to six in the summer and from two to fifth in
the winter. In this open air theatre, general illumination was provided by natural
daylight; the platform always had enough light upon it and even the alcoves, under
the "heavens", were amply lit. But many scenes were supposed to take place at
night or in the darknessof the caves and cells and this provided the opportunity for
the use of torches, cressets, candles, and Lanterns. Macbeth, which was
called in its entirely "a thing of night", has scene after scene in which special
lightning is obligatory; cressets affixed to walls to cast flickering lights on bloody
daggers or bloody hands. Sad fluttering candles for the sleep walking scene and
lurid, miasmic flames for the cauldron of the witches. The fact that of all these
things were going on in broad daylight did not dislurts the Elizabethan spectators.
It was one of the conventions of his theatre which he accepted. There were
innumerable hand properties- daggers and swords, fans, hander kerchief globlets,
musical instruments, and in the senecan melodramas such as Titus Andronicus,
several Heads and hands- but all of these freshly strewn for the text."41
THE ACTORS: Three classes of persons were connected with the theatres, sharers,
hirelings and servants. The 'Sharers' were the most important actors, who actually
made up the "company" and who divided among themselves.
the money taken in each day at the door; according to their importance some
received whole shares, others half shares. The "hirings" were actors of lower rank
who did not share in the large profits of the theatre but were engaged by the
company at a fixed and rather small salary. The "servants" were employed by the
company as prompters, stagehands, property keepers, money gathers and
caretakers of the buildings ."42
The actor in the Elizabethan theatre were all male, women were not
permitted to appear upon the stage. The stage parts of young women were played
by boys , those of old women or of hags, like the witches in Macbeth, were built, a
travelling company of players would consist of four or five men and one or two
boys. The plays often contained as many as twenty or thirty characters, so that each
actor was required to play several parts. This produce of developed into a high art
in Shakespeare's company, which at its peak employed only twelve men and six
boys. Yet the cast of Macbeth less twenty eight characters and requires, in
Addition, Apparitions, Lords, Gentleman Officers, Soldiers, Murderers, Attendants
and Messengers.
An analysis of the play will show that only Macbeth and Lady Macbeth
while the other characters make brief appearance. Each actor in Shakespeare's
company, particularly the stars or sharers, had his specialty."43
Richard Burbage was the leading man; he created the roles of Richard III, Romeo,
Hamlet, Othello, Macbeth, and King Lear; Will Kempe, a low comedian, played
such parts as Dogberry in Much Ado about Nothing and Bow tom in A
Midsummer Night‟s Dream; his place in the company was later taken by a more
subtle and refined comedian, Robert Armin, who acted the First Grave digger in
Hamlet and the Fool in King Lear; John Heminges specialized in old men:
Polonius in Hamlet and Brabantio in Othello; while Augustine Phillips and
Thomas Pope may have played the fickle lovers or the bragging soldiers.
The actors were trained, as in other Elizabethan professions, under an
apprenticeship system. A boy would start at the age of ten and be required to pay a
sum of money to the master for whom he would work for seven years without
receiving a salary; in return he would be given board and lodging and taught his
trade thoroughly. The experienced actor would teach the boy in his care to play
women‟s parts and also the type of part in which the older actor specialized that his
apprentice mighty become his successor. It is believed that the boys we hired in
pairs; two who were about ten years of age, two about twelve to for teen, and two
between fifteen and eighteen. The eldest would serve as leading ladies as long as
their voices and bodily development allowed, then they would graduate into adult
roles, at which point a new pair of ten -year-olds would be taken on. An effort
would be made to select a serious, blond, blue-eyed boy along with a boy who was
small and dark for comedy; these types are paired in man of Shakespeare‟s plays.
Some of these boys, such as Nathaniel Field and Richard Robirson, went on to
become celebrated actors and writers and sharers in the company. Sir Laurence
Olivier, in modern times, began his acting career at fifteen by playing Katharine in
The Taming of the Shrew at Stratford on Aven .
In acting the women‟s parts, the boy played with great simplicity, directness
and restraint; Shakespeare, in fact, underemphasized sex in these roles. In man of
the comedies, furthermore, the heroines disguised themselves as boys.
It is more difficult of attempt to describe the acting style of the adults it could not
have been as naturalistic as that of our own day, principally became the dialogue
was dialogue was written in verse. It must to some extent have been stylized and
declamatory, although we know from Hamlet‟s advice to the Players that
shakespeare deplored ranting and bombast and broad, empty gestures. We deduce
from Hamlet‟s speech the following set of rules for the actor: The speeches we to
be spoken rapidly but intelligibly; the body movements and gestures were to be
natural; the energy and emotions were to be under control at all times the actor was
to identify himself closely not only with the character he was plays but also with
the customs and conventions of his day; and finally, the actor ...cot to play down to
his audience and be satisfied with cheap effects, but was to ......for the approval of
the serious and discerning playgoer, rare as he might be .
COSTUMES
All Elizabethan plays were done, so to speak, in modern dress; that is, the costumer
of the actors were the last word in contemporary fashion, The women
wore wide spreading Farthingale of satin, velvet, taffeta, cloth of gold, silver
,copper, and the ruff of stiff lawn. The persons was ornamented with gold and
silver jewelry, precious stones, and strings of pearls. The men wore doublet and
hose made of rich and contrasting materials, trimmed with lace of gold, silver, or
thread; the jacket and cloak were made of silk or velvet; the ruffs, of stiff lawn the
shoes of fine, soft leather; and the outer robes were heavily furred. the actors, like
the fops and ladies of the period, were also interested in the high styles of foreign
countries and so appeared in German trunks, French hose, Spanish hats, and Italian
cloaks confusingly mixed. The satirists of the day ridiculed these fashions, and
clowns appeared on the stage in exaggerated paro-dies of then. In The Merchant of
Venice (I, 2), Portia remarks of a young English nobleman: „„How oddly he is
suited! I think he bought his doublet in Italy, his round hose in france, „bonnet in
Germany. . . .‟‟
The colors too were dazzling and symbolic. One gown was white, gold, silver,
red, and green another was black, purple, crimson, and white; and there were
dresses of such delicate tines as coral pink, silver, and gray. These, among many
others, were the colors of the nobility and the courtiers, while servants were limited
to dark blue or mustard-colored garments. Green sleeves, which became celebrated
in song, were the mark of the courtesan.
In addition to their secular garments, the actors wore elaborate robes of state,
impressive ecclesiasteal vestments, the various military and civic uniforms of the
day.
Elizabethan stage costumes were undoubtedly magnificent and costly; they
represented, in fact, the most expensive item in the production budget. One
producer paid a dramatist 8 pounds for a play, then spent 20 pounds on a gown for
the leading lady; another garment cost more than spent theater took in a week. But
there was obviously a need for this spectacular display to offset the paucity of
scenery and satisfy the demand of the audience for eye-filling splendor and
pageantry.
It did not in the least disturb the playgoer that Timon of Athens, Julius Caesar
of Rome, and Cleopatra of Egypt all wore Elizabethan costumes. Nor did he appear
to be bothered by the fact that ancient and contemporary costumes were worn side
by side, a man in medieval armor talking to one in a fashionable dou-blet, with the
occasional intermixture such foreign items as a Moor‟s robe, a Turkish turban,or
Shylock‟s Jewish gaberdine.‟‟ No attempt was made to achieve complete historical
accuracy of costume until the nineteenth century.
A number of fantastic costumes were in for fairies, devils, and clowns, but
these were patterned mainly on traditional representations which had come down
from the medieval mystery and miracle plays, The devils wore tails, cloven hoofs,
and horns, the clowns were dressed like country yokels or wore the red and yellow
motley of the fool; ghosts usually wore sheets, though that of Hamlet‟s father
appeared in full armor; the witches in Macbeth wore ugly masks and fright wigs.
The costumes were acquired in various ways and might belong to the company
jointly or to the individual actors. Some new garments were bought but these were
so expensive as to be almost prohibitive; an effort was therefore made to get hold
of secondhand clothing. Many courtiers, either because they were in need or
because they did not wish to be seen too frequently in the same outfits, sold their
finery to the players. Upon the deaths of some noblemen them in turn to the actors.
After the death of Mary of Scotland her wardrobe was turned over to Queen
Elizabeth who presented these beautiful gowns to actors in lieu of a fee. if a
theatrical company failed, its costumes were sold to active competitors. Some
theater owners rented their costumes to other companies; and each company had at
least one or two tailors in regular employ who busily altered or renovated the
costumes on hand.
We may gain some notion of the magnitude of the problem faced in costuming
the players when we realize that successful companies produced as forty plays in a
season.
MUSIC AND DANCE
The Elizabethan age was a highly musical one; instrumental and vocal music in
solo or concert enlivened all public and private occasions. The Elizabethan play
was accompanied almost throughout by music that either served an integral
dramatic purpose or was merely incidental to the action.
There were four basic types of music used in the plays: military and
ceremonial music, songs sung either with or without instrumental accompaniment,
incidental instrumental music played as an accompaniment to dancing, action, or
speech, and unmotivated background music used to create a special mood or
atmosphere. In addition, many sound effects were employed to heighten the aural
appeal of he plays by arousing tensions and simulating reality. In A Midsummer
Night‟s Dream, the musicians may actually have appeared on the stage, but usually
the music emanated from the Music Room on the second gallery above the stage.
The military and ceremonial music was used most frequently in the chronicle
history plays, but was also employed in the tragedies. Such directions in the text as
„„alarums and excursions‟‟ called for the .......of trumpets, cymbals, and roll of
drums. Charges and retreats .............,as did fanfares or flourishes which announeed
the entry of royal or noble persons. The hautboy, forerunner of the oboe, was
another instrument much used in military scenes.
Many songs found their way into the plays. Shakespeare composed a number
of original ones; others were popular songs of the day, or old traditional airs. The
clown Feste, in Twelfth Night, sings an ancient ballad „„Come Away, Death‟‟
accompanied by instrumentalists who are on stage. But the old drinking song,
„„And let me the canikin clink,‟‟ sung in the tavern scene in Othello, was
unaccompanied except by the banging of tankards.
From the Music Room came the background, or „„still,‟‟ music, as it was
eailed which helped to intensify the terrifying atmosphere and eerie mood of the
Ap-parition and Witch scenes in Macbeth. A thunderclap is heard as each
Apparition appears and his passage across the stage must been accompanied by
strange unearthly sound; the dance of the witches, too which was frenzied and
frightening most have done to music.
Sound effects were closely related to musical effectsand were
frequently called thunder plays. Thunder, the clashing of metal and clanking of
chains, the tolling of bells and winding of hunding horns are only a few of the
sounds which the Elizabethan stagehands had to produce.
Dancin000.g like music, was immensely popular in the social life of the time
and palyed an equally dances were the allemande, the courate, the galliard,, the
lavolta and the pavan; while the most celebrated country dances were sellenger's
round and the Hay. Each dance , had its own traditional music. Many of the
comedies ended with the playing of these advance the plots of the serious plays.
Shakespeare