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The world of the theatre. A modern reconstruction of the Globe, named “Shakespeare’s Globe”, London. The world of the theatre. London’s permanent theatres. The building of permanent playhouses in London was a break with the past. The world of the theatre. London’s permanent theatres.
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The world of the theatre A modern reconstruction of the Globe, named “Shakespeare’s Globe”, London.
The world of the theatre London’s permanent theatres The building of permanent playhousesin London was a break with the past.
The world of the theatre London’s permanent theatres Towards the end of the 16th century, several theatreswere built: • theTheatre(by James Burbage, 1576) • theCurtain (1)(by James Burbage, 1577) • theRose(by Philip Henslowe, 1587) • theSwan (by Francis Langley, 1595) • theCurtain (2)(by Cuthbert Burbage, 1599) • theFortune(by Philip Henslowe, 1600)
The world of the theatre The architecture of theatres The playhouses: • wereroundoroctagonalin shape • were12 metreshigh The Globe Theatre was built in 1599 by Shakespeare’s playing company, and was destroyed by fire on 29 June 1613. A modern reconstruction of the Globe, named “Shakespeare’s Globe”, opened in 1997. It is on London South Bankside.
The world of the theatre The architecture of theatres The playhouses: • had a diameter of25 metres • had arectangularstage A reconstruction of the Globe Theatre. Folger Shakespeare Library.
The world of the theatre Internal layout The same basic structure consisted of: • astagepartially covered by athatched roof supported bytwo pillarsand projected into a central area Globe Theatre Stage, 1997
The world of the theatre Internal layout The structure included: • three tiers of galleries around the stage with the actors’dressing roomat the back The interior drawing of “The Swan” by Johannes de Witt, circa 1596. The Swan Theatre was built by Francis Langley about 1594, south of the Thames. The Swan was one of the largest and most distinguished of all the playhouses in London.
The world of the theatre The audience The “box-offices” offered a wide range of prices: • a penny (=1/12 of a London worker’s weekly salary) granted entrance to thepit (standing room around the stage) • six pence granted access toseated places in thecovered galleries. Only city merchants and the nobility could afford the price
The world of the theatre The audience • The spectatorsateanddrankduring the performance. • They freely expressed their emotions withlaughterortears. • They had a relish forlanguageand long speeches. Geoffrey Rush in Shakespeare in Love directed by John Madden, 1998
The world of the theatre The audience • They were eager forsensationand overwhelming emotion. • They lovedmetaphor and extremes. • They enjoyedthrills and horror. • They lovedchroniclesandhistory playswith heroic deeds (strong national feeling).
Actors had to join acompanyof a prominent figure and bear hislivery and arms (theChamberlain’s Menof Elizabeth I and theKing’s Menof James I). An actor’sshareholdingdepended on the sum he invested to buyprops and costumes of which he was joint owner. The world of the theatre The actors
The world of the theatre The actors • They had to vary theirrepertoire. • They had no more thantwo weeksto prepare a new play. • They often found themselves playingseveral rolesin thesame performance. • They needed anexcellent memory.
Companies included5-6 boysto play female roles until their voices broke. They learnt singing, dancing, diction andfeminine gestures and intonationfrom a very young age. Contemporary audiences found themvery convincing. The world of the theatre Female roles
