Task 1: Exploring Techniques: Shakespearean Theatre/ Elizabethan Theatre

 WHAT IS ELIZABETHAN THEATRE?

Elizabethan theatre originated in 1558 in England and it is also known as the English renaissance theatre 

• Exclusive Male Dominance in Acting: During the Elizabethan era, acting was a realm exclusively occupied by men, with the profession considered unsuitable for women and even drawing parallels to prostitution.
• Female Roles Portrayed by Teenage Boys: To address the absence of women in the acting profession, teenage boys, often apprentices, were enlisted to portray female characters, exemplified in roles like Juliet and Ophelia. These young performers were collectively referred to as PLAYERS.
• Noblemen Sponsorship and Specialized Reputations: Acting companies, or players, were commonly sponsored by affluent noblemen. Within these troupes, actors developed specific reputations for particular types of roles; for instance, Richard Burbage was renowned for his portrayal of kings and heroes, while Nathan Field excelled in lover roles, and William Sly specialized as a skilled swordsman.
• Brief Rehearsals and Hand-Written Scripts: Rehearsals, typically brief in duration, were led by the lead actor or the playwright. Scripts were not comprehensive, often necessitating actors to learn only their specific parts. These scripts were meticulously hand-written, lacking the detailed stage directions commonly found in contemporary plays.
• Emphasis on Auditory Experience at the Globe Theatre: The layout of the Globe Theatre mirrored the emphasis on the auditory experience. Audiences came to hear a play rather than see it, highlighting the significance of the delivery of lines and the paramount importance of storytelling.
• Ownership and Short Runs: Plays belonged to the acting companies and their resident playwrights. The performance runs were notably short, spanning only 3 or 4 shows, contributing to a sense of exclusivity and event-like anticipation.
• Shakespearean Structure with Plot and Subplot: In Shakespearean plays, a distinct structure emerged with a central PLOT and SUBPLOT. The plot carried the theme and main characters, often composed in iambic pentameter - a meter of ten syllables with the accent on the second beat.
• Iambic Pentameter and Comedic Subplots: The iambic pentameter, characterized by its rhythmic pattern, added a poetic element to the dialogues. Comedic subplots, typically in prose, featured more menial characters and provided commentary on the main storyline, enhancing the overall narrative complexity.
• Interconnected Plots for Comedy and Tragedy: Plots and subplots frequently interwove, contributing to both comedic and tragic elements. This interconnection added layers of depth, confusion, and richness to the storytelling.
• Engagement with the Audience: Dialogue in Elizabethan plays frequently involved direct addresses to the audience, asides, and soliloquies. These theatrical devices offered insights into characters' inner thoughts and emotions, creating a more immersive experience.
• Disguise and Mistaken Identity for Dramatic Irony: Elements of disguise and mistaken identity were recurrent features, introducing dramatic irony and allowing the audience to possess a fuller understanding than the characters within the play.
• Theatrical Techniques like Overhearing: The narrative technique of 'overhearing' allowed characters to gain information without the knowledge of others, adding intrigue and complexity to the unfolding story.
• Structural Components: Prologue, Epilogue, Play within a Play: Theatrical structure included prologues, serving as introductions to action or themes, and epilogues, concluding the story with often moral reflections. Additionally, the incorporation of a 'play within a play,' as exemplified by the mechanicals in 'A Midsummer Night's Dream,' added layers and nuances to the overall storytelling.
• Musical and Choreographic Elements: Song and dance were employed not merely for entertainment but to evoke specific moods, empathize with themes, or provide commentary on the unfolding narrative.
• 'Romeo and Juliet' and Its Theatrical Context: Believed to be written between 1591-1596, 'Romeo and Juliet' likely premiered around 1594-5, capturing the essence of Elizabethan theatrical practices with its intricate plots, rich dialogues, and engaging theatrical techniques.

                                                                                                                                 

GLOBE THEATRE 

• Historical Background:

  The Globe Theatre, intricately associated with William Shakespeare, was erected in 1599 by his theatrical company, the Lord Chamberlain's Men.

  Unfortunately, the original Globe Theatre met its demise in a fire on June 29, 1613.

  A subsequent iteration of the Globe, constructed on the same site, was completed by June 1614 and operated until its closure in 1642.

• Modern Reconstruction

  In 1997, a faithful modern reconstruction named "Shakespeare's Globe" emerged, situated approximately 230m (750 ft) from the original theatre site.

• Architectural Features: 

  Raised, Flat Thrust Stage:

  Distinguished by a raised, flat thrust stage that extended into the auditorium, fostering a close connection between performers and the audience.

  Open-Air Setting:

  The theatre was intentionally unroofed, allowing performances to unfold in an open-air environment.

• Unique Structure:

  Many-Sided Circular Building:

  Characterized by a many-sided structure that created an overall circular effect, offering an immersive experience for the audience.

  Trapdoors were strategically integrated for theatrical trickery, adding layers to performances.

• Lighting Techniques:

  Illumination primarily relied on daylight, complemented by candles and torches for evening performances.

  Live Special Effects:

  Live special effects were employed, such as simulating thunder with a cannonball down a chute.

  Fireworks, although popular, ironically led to the original Globe's destruction due to a cannonball fire trick.

• Operational Details:

  Afternoon Commencement:

  Shows typically commenced at 2 pm, taking advantage of natural daylight.

  Diverse Audience Inclusion:

  The Globe accommodated a diverse audience, admitting 3000 individuals from all walks of life.

  Varied Entrance Fees:

  Entrance fees were contingent on seating locations; for instance, groundlings paid a penny to stand in front of the stage.

• Logistics and Theatrical Techniques:

  Dynamic Set and Scenery Changes:

  Set and scenery changes were orchestrated through winches, allowing for fluid and dynamic alterations during performances.

  Dramatic Acting Style:

  The prevailing acting style was marked by its dramatic and over-the-top (OTT) nature.

  Costuming Distinctions:

  Costumes, reflective of contemporary fashion, incorporated different fabrics to denote social status.

  Royalty was often distinguished 

  through the use of rich fabrics, while comic characters might sport quirky ensembles, like a feather in the cap.