The poet, William Shakespeare (1564-1616), wrote A Midsummer Night’s Dream before the year 1600, and published it in 1600 in Quarto edition. However, it is suggested, that this play was ‘first put on in court in 1595’ (Salgado, 1975: p. 116). Because of the wedding theme in the play, it is possible that this comedy was written intentionally for a specific wedding, although, scholars still debate which wedding it was written for. (Goodall, 2015). During Elizabethan era, plays were performed usually in an open-air auditorium that was roofless. The plays were performed on the simple platform that had a wall on the back which was used for players as an offstage area where they changed. Additionally, this area consisted of exterior doors and the balcony. Theatres in the sixteenth century, were built using the materials accessible in that time period, such as oak, lime plaster and thatch(Carson, Cooper, 2008: p. 61).
One of the well-known theatrical places was the Globe into which Shakespeare himself invested ten percent of his own savings. This place, as Gurr remarks in the Shakespeare’s Globe, was already old fashioned when poet ‘helped to build it in 1599’ (2008: p. 18). Later, Richard Burbage (1567 - 1619), a well-known Elizabethan actor (who performed in most of the plays written by Ben Johnson and William Shakespeare), together with his brother Cuthbert, took a similar share in the Globe theatre (Alchin, 2015).
The players in the sixteenth century, as emphasised by Jenny Tiramani in the Shakespeare’s Globe, were suggested to wear (to some extent) contemporary costumes made only from fabrics which were available in Elizabethan era, such as wool, silk, linen and leather (2008: p. 58). Even, when playing historical roles, costume...
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...Night’s Dream. Brook cast Alan Howard as Oberon, John Kane as Puck and Sara Kestelman as Titania(Brook,2013). The actors performed acrobatic tricks, while speaking their own lines (2013). Known from his innovative ideas and brave decisions, Brook combined circus tricks with serious Shakespearean tone. As impressive as his genius was, his work was also criticised. In the Shakespeare in Performance, Brydon remarks that ‘Brook used the circus as a vehicle to suggest and explore the play’s magic; impressive as the results generally were, the device did not, to me at least, justify the hyperbolic praise showered upon the production. Brook’s actors were in their circus guise component but far from magical; they did no more than any reasonably fit person could have learned to do with intensive practice, and the mechanisms were transparent’(Rivier, Brown, 2013: p. 111)
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