Globe Theatre: Performance during Shakespeare's time

Summary

Stephen Greenblatt offers an insightful exploration of Shakespeare's Globe Theatre, a reconstructed version of the 1599 original. He describes the open-air design, the tiered audience seating, and the unique ticketing system that ranged from a penny entry to more expensive seating. Greenblatt emphasizes the absence of modern theatrical amenities like artificial lighting and elaborate sets, highlighting the剧院's reliance on costumes and the actors' performances to convey the plays' narratives. He also discusses the innovative use of space, including the trestle stage, discovery space, and the symbolic canopy, which, along with the actors' powerful voices and memories, made the plays engaging for large audiences.

Takeaways

• 🏟️ The modern reconstruction of Shakespeare's Globe Theater provides insight into Elizabethan theatrical practices.
• 🌞 The Globe was an open-air theater designed to accommodate around 3,000 spectators, most of whom stood.
• 🎟️ Admission to the theater cost a penny, and the term 'box office' originated from the box where money was collected.
• 💺 There was a tiered seating system with different prices for standing, gallery seating, cushioned chairs, and seats behind or on the stage.
• 🌈 The theater lacked artificial lighting and complex sets, relying on basic props like chairs and beds for scene setting.
• 📣 Actors had to have powerful voices and memories to perform without a curtain or illusion, projecting to a large audience.
• 👗 Costumes were of great symbolic importance and were more valuable than plays, often indicating a character's status or role.
• 🤵‍♂️ All female roles were played by boys, who were adept at portraying women through costume and mannerisms.
• 🌟 The theater featured a canopy over the stage, symbolizing the heavens and protecting costumes and actors from the elements.
• 🔮 The stage included a 'hell' space under the trestle, accessed by a trap door, used for special effects like ghostly appearances.
• 🎭 The 'discovery space' behind the stage and the tiring house, where costumes were kept, allowed for quick scene and costume changes.

Q & A

What is the purpose of the modern reconstruction of Shakespeare's Globe Theater?

The purpose of the modern reconstruction is to provide a sense of what Shakespeare's actual theatrical practice would have been like during his time.

How many spectators could the original Globe Theater accommodate?

The original Globe Theater could accommodate up to about 3,000 spectators.

What was the stage design of the Globe Theater like?

The stage was a trestle stage that thrust out into the crowd, surrounded by spectators and galleries, and it was open-air with no artificial lighting or sets.

What did the term 'box office' originally refer to?

The term 'box office' originally referred to the box where the money was put to get into the theater.

How much did it cost to enter the Globe Theater and what did additional pennies get you?

It cost a penny to enter the theater. An additional penny could get you a place in the galleries with a roof, and another penny could get you a chair with a cushion.

Why were costumes so important in Shakespeare's theater?

Costumes were important because they carried huge symbolic meaning in a stage without sets, and they were also valuable in themselves and symbolically.

Who played the female roles in Shakespeare's time?

All female roles, such as Desdemona, Ophelia, and Cleopatra, were played by talented boy actors, usually between the ages of 12 and 20.

What was the function of the canopy over the playing space?

The canopy served a practical purpose by protecting the costumes and actors from rain, and it had a symbolic association with the heavens above the actors.

How was the 'hell' below the stage used in performances?

The 'hell' below the stage was accessed through a trap door and was used for scenes that required characters to appear to come from below, such as the ghost in Hamlet.

What was the 'discovery space' and how was it used?

The 'discovery space' was a curtained area behind the columns where things could be revealed or characters could emerge to create powerful effects.

How did the Globe Theater encourage the audience to use their imagination?

The theater relied on the audience's imagination to conjure up worlds that were not physically present, as suggested by Shakespeare in the beginning of Henry V.

Outlines

00:00

🎭 Shakespeare's Globe Theater Experience

Stephen Greenblatt provides an insightful description of the modern reconstruction of Shakespeare's Globe Theater, highlighting its authenticity in replicating the theatrical practices of Shakespeare's era. The theater, an open-air structure, could accommodate approximately 3,000 spectators, most of whom stood in front of the stage. The ticketing system introduced terms like 'box office,' and the seating arrangements varied based on the price one could afford, from standing to sitting in cushioned chairs or even behind the stage. The theater lacked artificial lighting and detailed sets, relying instead on movable props and the symbolic significance of costumes, which were more valuable than the plays themselves. The actors, all male, played both male and female roles, with boys aged 12 to 20 portraying female characters effectively. The stage design included a trestle stage surrounded by the audience, two columns supporting a canopy to protect costumes and actors, and a 'hell' space under the stage accessed through a trap door, used for special effects like the ghost in Hamlet.

05:01

🌟 Stagecraft and Illusion in Shakespeare's Time

This paragraph delves into the innovative stagecraft techniques used during Shakespeare's time, despite the simplicity of the theater's design. It discusses the use of a 'discovery space' behind curtains for revealing surprises and the 'tiring house' for costume changes, which were significant in character development. The gallery spaces behind the stage served multiple purposes, such as balconies or castle ramparts, and could also host musicians to enhance the play's atmosphere. The text emphasizes the limited use of special effects and the reliance on the audience's imagination, as encouraged by Shakespeare's powerful language, to create the illusion of different settings and times. Examples from 'Hamlet' illustrate the use of the stage's underground space and the importance of costume changes in conveying the characters' evolution. The paragraph concludes by reminding us of the contrast between the actual performance conditions, such as performing in daylight or rain, and the nocturnal or supernatural settings Shakespeare's plays often depicted.

Keywords

💡Shakespeare's Globe

Shakespeare's Globe refers to both the original theater built in 1599 and the modern reconstruction near the original site. It was an open-air theater that accommodated around 3,000 spectators. The term is central to the video's theme as it sets the stage for discussing the theatrical practices of Shakespeare's time. The script describes the Globe's design and how it influenced the experience of watching plays during Shakespeare's era.

💡Trestle stage

A trestle stage is a type of stage structure that projects into the audience area, allowing for a more immersive experience. In the context of the video, the trestle stage at Shakespeare's Globe was surrounded by the crowd, with spectators standing in front of it. This design is significant as it highlights the interactive nature of the theater experience in Shakespeare's time.

💡Box office

The term 'box office' originates from the practice of placing a box at the entrance of the theater where spectators would pay a penny to enter. This concept is integral to the video's discussion on the economic aspects of theater attendance in Shakespeare's time. The script mentions that the money was put in a box, hence the term 'box office,' which is still in use today to denote ticket sales for theaters.

💡Galleries

Galleries in the context of the video refer to the areas within the theater where spectators could pay extra to sit under a roof, away from the elements. The mention of galleries illustrates the social and economic stratification within the theater, as those who could afford more had the option to sit in better conditions, a concept that is still relevant in modern theater.

💡Costumes

Costumes were of great importance in Shakespeare's theater, as they were the primary means of creating visual distinction between characters and conveying their status or role. The script emphasizes that costumes were more valuable than the plays themselves and carried significant symbolic meaning. The costumes were also a way for the audience to engage with the play, as they could identify characters and their significance through their attire.

💡Canopy

The canopy in the video refers to the structure above the stage that provided protection from the weather for the actors and their costumes. It also had symbolic significance, often painted with stars to represent the heavens. This element of the theater's design is important as it underscores the theatricality and the use of simple yet effective means to create a sense of place and atmosphere.

💡Trap door

A trap door is a hidden door in the stage floor that can be opened to reveal a space below. In the video, the trap door is mentioned in relation to scenes in 'Hamlet' where characters interact with the space beneath the stage. This feature of the theater allowed for dramatic effects and added depth to the stage, despite the overall simplicity of the setting.

💡Discovery space

The discovery space is the area behind the main stage where surprises or reveals could be staged. The script describes how a curtain could be drawn to reveal something or someone in this space, creating dramatic moments in the play. This concept is crucial to understanding the limited but effective use of stagecraft in Shakespeare's time.

💡Tiring house

The tiring house was the area behind the stage where costumes were stored and actors could change their attire quickly. The term is significant as it reflects the importance of costume changes in the narrative and character development of the plays. The script mentions how changes in costumes marked significant shifts in the characters' lives and fates.

💡Imagination

Imagination is a central theme in the video, as it refers to the audience's role in engaging with the play and using their minds to fill in the gaps created by the simplicity of the stage design. The script quotes Shakespeare's 'Henry V,' emphasizing the power of language and the audience's imagination to create the world of the play, despite the lack of elaborate sets and special effects.

💡Balcony scenes

Balcony scenes, such as the famous one in 'Romeo and Juliet,' are mentioned to illustrate how the theater used simple spaces creatively to represent more complex settings. The video script points out that despite the actual performance taking place in the daytime and possibly in the rain, the audience was expected to use their imagination to envision the scene as occurring at night under Juliet's window.

Highlights

Shakespeare's Globe Theater, a modern reconstruction, offers insight into Shakespeare's theatrical practice.

The theater is an open-air space designed to accommodate around 3,000 spectators, most standing.

A trestle stage extends into the crowd, surrounded by spectators and galleries.

Entry to the theater cost a penny, contributing to the term 'box office'.

Additional pennies provided better seating or protection from the elements.

The theater had no artificial lighting or elaborate sets, relying on basic props.

Actors needed powerful voices and memories to perform in the round space.

Costumes were of high value, both financially and symbolically, in the absence of detailed sets.

All female roles were played by talented boy actors, aged 12 to 20.

The canopy over the stage protected costumes and symbolized the heavens.

A trap door allowed for the representation of hell, used in plays like Hamlet.

The discovery space behind the columns was used for revealing surprises.

The tiring house was where costumes were kept and actors changed quickly.

Gallery spaces behind the stage served as balconies or castle ramparts.

Musicians could also perform from the gallery spaces, marking significant moments.

The theater relied on the audience's imagination, as encouraged by Shakespeare's language.

Despite the simplicity, the theater offered a rich experience, even with minimal equipment.

Scenes set at night or in different weather were performed in daylight or rain.

Transcripts

STEPHEN GREENBLATT: We're standing in front

of Shakespeare's Globe, a modern reconstruction

near the site of Shakespeare's own Globe Theater, built in 1599.

And this reconstruction is the best way, really,

of getting a sense of what Shakespeare's actual theatrical practice

of his own time would have been like.

It's an open air theater in the around.

It accommodated up to about 3,000 spectators crowded in, most of them

standing in front of the stage.

There was a trestle stage that thrust out into the crowd.

The crowd surrounded it.

And then there were galleries.

So you paid a penny to get into this theater.

The money was put in a box.

That's why we have the term box office.

And then if you had the money and you had another penny,

you could get out of the sun or out of the rain at least as often

and pay to be in one of the gallery places

where there was at least a little roof over your head.

If you had another penny, you could get a chair with a cushion.

And if you had a lot of money, sixpence--

at the time, that's a substantial amount of money--

you could get one of the seats behind the stage or possibly even

on the stage, that were terrible from the point of view of seeing the play,

but were great in terms of having people see the beautiful clothes that you are

wearing, which evidently was an important part of the experience

of the theater in Shakespeare's time.

The theater had no artificial lighting.

And it had no sets of the kind with which we're familiar.

It had a chair that could be brought on and off the stage

or a bed that could be brought on and off the stage, but basically

nothing like the sets that to which we're accustomed,

as it had no curtain also, no illusion.

There's a platform.

And on the platform, there are the actors,

who must have developed very powerful voices,

as well as powerful memories, because they

could speak their plays out and be heard by 2,000 or 3,000 people in the round

space.

The theater was not without some sense of something other than simply

the flat stage, because it had two columns that held up a kind of canopy

over the playing space.

The canopy over the playing space was important for one thing

because the single most valuable property

that the players owned were costumes.

These theaters paid much more for a good costume than they paid for a play.

The costumes were valuable in themselves.

And they were valuable symbolically, because especially

in a stage without sets, the costumes carried huge symbolic meaning if you

wore the cloak of a nobleman, if you wore the regalia, at least that

could conjure up, the idea of a king, or for that matter if you

wore a beautiful dress.

And there were beautiful dresses worn.

They were worn by an entirely male company.

That means that all of the great, and minor for that matter,

female parts-- Desdemona, Ophelia, Cleopatra, the like--

were played by boys.

They were talented actors, usually between the ages of 12 and 20.

And they were evidently very gifted at conveying, especially

in their beautiful costumes, the life, the manners, the impression of women.

In fact, Englishman who traveled abroad in the late 16th and early 17th century

and went to places like Venice where they could see actual women on stage

remarked that it was amazing how good the women were there

at performing the women's parts, almost as good as the boy actors in London.

Evidently, the boy actors were very, very good indeed.

And the company had a big stake financially in the costumes

that they own.

Hence, the great pillars that rose up out of the platform stage also

provided protection by holding a canopy over the actors

so they wouldn't have to stand out in the rain.

But also there was another symbolic association

with that canopy, which was often painted with stars

and conveyed the idea of the heavens above the heads of the actors.

Just as there was the heavens symbolically

above the stage held up by those columns,

so too there was a hell below the stage.

That hell was the space under the trestle stage,

not visible to the crowd surrounding the stage,

but accessible through a trap door that could be opened on the stage.

And we know that it was used on lots of different occasions

in the theater, Shakespeare's plays and in others, most notably in Hamlet.

You will remember that Hamlet hears the ghost moving

like a mole under the stage.

And he himself moves around listening for the ghost.

And the ghost indeed cries out from below the stage, swear, swear.

You hear the voice rising up from below the stage.

Or an Act V of Hamlet when the dead Ophelia is interred underground,

they must have used that space.

They must have opened the trap door and lowered her there.

And indeed, when Laertes leaps into the grave in mourning

and Hamlet jumps after him to wrestle with Laertes

to try to prove who's the most filled with grief,

they must have used that space.

In addition, there was a curtain that could be drawn

in that space between the two curtains.

And directly behind those two columns, there was a curtain space.

And that was called a discovery space.

Often things could be revealed in that space.

You could draw the curtain and reveal something.

Someone could emerge from that space.

You could produce certain powerful effects there.

And behind that space, in turn, was something

known as the tiring house, a place where they would keep the costumes

and indeed in which the actors could go and quickly change costumes.

Changes of costume are often quite important in this theater because it

marks, as it does for us now, significant changes

in the lives and fates of the actors, of the characters in the play.

You might remember that Hamlet's ghost appears

in Act I in full armor with his bevor up, that is to say his face mask up.

And then when he returns to the closet scene to the queen's bedroom,

he appears in his nightgown.

And that marks an important change, profound change

in the ghost relation to the action and the ghost relation to the characters

and indeed perhaps in the fate of the ghost himself.

So in addition to that, there was yet another space

that the actors could use, which were the gallery spaces behind the stage

up above that could be used, for example, as balcony

or as the ramparts of a castle and other places in which you could have an actor

appear.

And you could also have musicians appear there

and, for example, trumpeters or drummers who are marking

significant moments in the play.

So that even though it's, by our standards, an extremely simple play

space with nothing in the way of very, very, very little-- let's not

say not nothing-- but very little in the way of equipment

to produce certain illusory effects.

Nonetheless, there were lots of possibilities

that the playing companies had, including even on unusual occasions,

probably some devices to enable descents, for example,

from up above on to the stage.

But much, much less than we have.

And the powerful sense of entering into an illusion

depended as Shakespeare himself famously says at the beginning of Henry V

on using the imagination of the audience,

of encouraging the audience to enter into the fantasy and, of course,

through Shakespeare's special gift of language

to conjure up whole worlds that are not present before their eyes.

But we should remember that in this theater when Romeo, for example, in one

of the most famous scenes Shakespeare ever

wrote is at night under Juliet's window, or in Hamlet when the ghost appears

at midnight on the battlements, you would

be standing in the afternoon in full sun or perhaps

with the rain coming down on a London afternoon

and conjuring up that world in your imagination.