Background: The apparent shape and even the precise location of the original Globe Theatre have continually been subjects of controversy. While Adams’ view of this debate stands that it doesn’t realistically matter to the artistry of Shakespeare’s plays whether it was a few yards north or south of Maid Lane; he does remark, “it is important to the study of Shakespeare and his contemporary dramatists to understand the design of an Elizabethan playhouse and stage and the extent to which that state was equipped…all helping to enlarge and sustain the scope and force of dramatic illusion…”(Adams, v). Within his work, The Globe Playhouse: Its Design and Equipment, the author takes the approach of examining each part of the playhouse to defend his claim in its relation to the illusions developed in Shakespeare’s and his contemporaries’ plays. He first discusses the shape of the Globe and the nature of the property; then he inspects the frame of the building; the auditorium; the platform stage; the tiring house; exterior and first, second, and third levels; and also finally the superstructure.
Purpose: To endorse his argument, while recreating the image of each of the components of the Globe Theatre, he presents different illustrations of which of Shakespeare’s productions would have required each component of the design. For example, within chapter six Adams displays the works of Shakespeare that call for a scene within a scene or an inner stage. This necessitates the use of the first level of the tiring house. The tiring-house was sheltered in curtains so the non-dramatic elements of the production would be shielded from the audience. The drapes of the first floor tiring-house would have hidden Falstaff in 1 Henry IV (II,vi), when ...
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... Weaknesses: The pitfalls observed within this source is there is often disregard to timeline of productions in terms of the example passages from the Lord Chamberlain’s men’s productions and if they were actually written for the Globe or written before the original Globe was even constructed. He makes the assumption that at one point or another plays like Henry IV were performed at the Globe during Shakespeare’s time. While this is a suitable assumption, it often discredits the validity of his passages and their relation to the design. He often doesn’t mention the date or the theatre for which a specific play was written. While this is a disadvantage, the source still consistently creates such a detailed overview of what the original Globe Theatre design consisted of that it is difficult to argue that the majority of Adams’ case is not valid.
The site of the Old Globe Theatre was rediscovered in the 20th century and a reconstruction started to take place as near to the place as possible. This is the theatre which still stands today, and which has been running, and holding many performances including ones written by Shakespeare.
The elements of staging in Shakespeare's Hentry IV, Part 1 are critically important to the action, theme, and quality of the performance. Elements such as costume, blocking, casting, and even the physical attributes of the stage are, of course, important considerations in the production of a play. But other, less apparent factors contribute to the success of the production as well. For instance, an underlying theme(rebellion, in the case of Henry IV, Part 1) must be, whenever possible, incorporated into the scene. Also the number and complexity of props must also be considered with regard to the financial success of the production. These elements as well as others, such as delivery and movement, must be addressed and accounted for effectively. All of these factors will be considered in this analysis of staging for Henry IV, Part 1, act II, scene iv, lines 394- 476. Since this scene transpires in a tavern it is necessary to maintain the simulacrum while still leaving room on stage for the 'play extempore'. To do this efficaciously it would be wise to keep the props to a minimum so that nothing is in competition with Hal and Falstaff for the true audiences attention, as well as for financial considerations. To create the appearance of a tavern one simply needs four tables, each accompanied by three or four chairs; at least ten or eleven are necessary for this scene. One of these chairs will later serve as a prop for Hal and Falstaff when they use it as a throne. Three of the tables should be approximately four or five feet in diameter and one table slightly larger, perhaps six feet in diameter. This will be the table at which Hal and Falstaff converse in the beginning of th...
The original Globe theater was constructed by the Lord Chamberlain’s men, the acting group to
The Globe Theater is widely known as the world’s greatest amphitheatre of its time, bringing in crowds of thousands of people. The Globe was also where most of the famous playwright, William Shakespeare, performed his plays. With its unique design, the audience was able to enjoy the plays. Inside of this round and globe-like structure, the people from all around the area packed into the seats to watch Shakespeare and his actors. Despite the Globe Theater’s success, the theater had gone through many shut downs and rebuilding projects. Finally, the Globe was demolished for the last time. It was not until years later that the theater was discovered. Now, people from around the world are learning about this amphitheater and its role in the Renaissance time period. The Globe Theater is known for its structure, audience and actors, and history.
The original Globe theater, built in 1576, was actually just called "The Theater" and was
Wilson, H. S. On the Design of Shakespearean Tragedy. Canada: University of Toronto Press, 1957.
Shakespeare, William, Stephen Greenblatt, Walter Cohen, Jean E. Howard, Katharine Eisaman Maus, and Andrew Gurr. The Norton Shakespeare. Second ed. New York: W.W. Norton, 1997. Print.
Cohen, Walter, J.E. Howard, K. Eisaman Maus. The Norton Shakespeare. Vol. 2 Stephen Greenblatt, General Editor. New York, London. 2008. ISBN 978-0-393-92991-1
The Globe Theatre was where Shakespeare had most of his plays performed. It had many decorations to make it look appealing and to try and to make it seem expensive and luxurious. The Globe Theatre was built in just 6 months between 1597 and 1598 just outside central London. The Thames River separated it from St Paul’s cathedral. The Globe was made in a round circular shape. This meant that at least one actor would have their back to the audience, however, this would not have mattered because the audience came mainly to hear the play – not to see it. When you were buying a seat for the theatre, the most expensive seats would not be the ones with the best view, they would be the closest ones in order to hear better. Also, these seats would be facing towards the audience, which means that everyone would see them, meaning fame. The Globe would usually be packed with decorations and ornaments. These would have nothing to do with the play, it was used to make the theatre look more attractive/expensive. Lots of people would come to see the plays. They would do this because Shakespeare’s plays were not published at that time so the public would want to see it...
It makes sense to me to see in this Shakespeare's sense of his own art--both what it can achieve and what it cannot. The theatre--that magical world of poetry, song, illusion, pleasing and threatening apparitions--can, like Prospero's magic, educate us into a better sense of ourselves, into a final acceptance of the world, a state in which we forgive and forget in the interests of the greater human community. The theatre, that is, can reconcile us to the joys of the human community so that we do not destroy our families in a search for righting past evils in a spirit of personal revenge or as crude assertions of our own egos. It can, in a very real sense, help us fully to understand the central Christian commitment to charity, to loving our neighbour as ourselves. The magic here brings about a total reconciliation of all levels of society from sophisticated rulers to semi-human brutes, momentarily holding off Machiavellian deceit, drunken foolishness, and animalistic rebellion--each person, no matter how he has lived, has a place in the magic circle at the end. And no one is asking any awkward questions.
The theater was one of the primary forms of entertainment in Elizabethan England, as anyone, rich or poor could attend the plays.The rich would sit in boxes or galleries, while the poorer people would have to stand for the entirety of the play (Haigh). The poor would stand in front of the stage which would normally be raised about 4 to 6 feet and the theater could hold on average 3,000 people (Trumbull). The rich however usually watched plays in indoor private theaters, but sometimes would watch the plays in the outdoor public ones. Performances ...
Levin, Harry. General Introduction. The Riverside Shakespeare. Ed. G. Blakemore Evans. Boston: Houghton Mifflin Co., 1974.
Greek and Elizabethan theatre, while similar in some respects, had a few large differences. The Greeks believed in a certain unity of theme, which was prevalent throughout the production. Greek plays were often drawn from myth or of historical significance, so it seems that only ki...
The simplicity of the Jacobean Stage and its lack of scenery focused the audiences’ attention on the actors. Discuss how Shakespeare created the grandeur of the Worlds of Rome and Egypt, and the magnificence of the protagonists, through his use of imagery in ‘Antony and Cleopatra’.
Levin, Harry. General Introduction. The Riverside Shakespeare. Ed. G. Blakemore Evans. Boston: Houghton Mifflin Co., 1974.