English Renaissance theatre

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English Renaissance theatre is English drama written between the Reformation and the closure of the theatres in 1642. It may also be called early modern English theatre or (inaccurately) Elizabethan theatre. It includes the drama of William Shakespeare along with many other famous dramatists.

Contents 1 Terminology 2 History 3 Theatres 4 Performances 5 Writers 6 The End 7 Genres 8 List of playwrights 9 List of players 10 List of playhouses 11 List of playing companies 12 Other significant people 13 See also 14 Notes 15 References 16 External links

[edit] Terminology

English Renaissance theatre is often called "Elizabethan theatre." However, in a strictly accurate sense, the term "Elizabethan theatre" covers only the plays written and performed publicly in England during the reign of Queen Elizabeth I (that is, 1558–1603). As such, "Elizabethan theatre" is distinguished from Jacobean theatre (associated with the reign of King James I, 1603–1625), and Caroline theatre (associated with King Charles I, 1625 until the closure of the theatres in 1642).

In practice, however, "Elizabethan theatre" is often used as a general term for all English drama from the Reformation to the closure of the theatres in 1642, thus including both Jacobean and Caroline drama. As such it can be synonymous with "English Renaissance drama" or "early modern English drama."

[edit] History

English Renaissance theater derived from several medieval theatre traditions. A crucial source was the mystery plays that were a part of religious festivals in England and other parts of Europe during the Middle Ages. The mystery plays were complex retellings of legends based on biblical themes, originally performed in churches but later becoming more linked to the secular celebrations that grew up around religious festivals. Other sources include the morality plays that evolved out of the mysteries, and the "University drama" that attempted to recreate Greek tragedy. Later, in the 17th century, the Commedia dell'arte and the elaborate masques frequently presented at court came to play roles in the shaping of public theater.

Companies of players attached to households of leading noblemen and performing seasonally in various locations existed before the reign of Elizabeth I. These became the foundation for the professional players that performed on the Elizabethan stage. The tours of these players gradually replaced the performances of the mystery and morality plays by local players, and a 1572 law eliminated the remaining companies lacking formal patronage by labeling them as "vagabonds." At court as well, the performance of masques by courtiers and other amateurs, apparently common in the early years of Elizabeth, was replaced by the professional companies with noble patrons, who grew in number and quality during her reign.

The London authorities (known as the Corporation of London) were generally hostile to public performances, but its hostility was overmatched by the Queen's taste for plays and the Privy Council's support. Theaters sprang up in suburbs, especially in Southwark, accessible across the Thames to city dwellers, but not controlled by the London corporation. The companies maintained the pretense that their public performances were mere rehearsals for the frequent performances before the Queen, but while the latter did grant prestige, the former were the real source of the income professional players required.

Along with the economics of the profession, the character of the drama changed toward the end of the period. Under Elizabeth, the drama was a unified expression as far as social class was concerned: the Court watched the same plays the commoners saw in the public playhouses. With the development of the private theaters, drama became more oriented toward the tastes and values of an upper-class audience. By the later part of the reign of Charles I, few new plays were being written for the public theaters, which sustained themselves on the accumulated works of the previous decades.^[1]

[edit] Theatres

The establishment of large and profitable public theatres was an essential enabling factor in the success of English Renaissance drama. The crucial initiating development was the building of The Theatre by James Burbage, in Shoreditch in 1576. The Theatre was rapidly followed by the nearby Curtain Theatre (1577). Once the public theatres of London—including the Rose (1587), the Swan (1595), the Globe (1599), the Fortune (1600), and the Red Bull (1604)—were in operation, drama could become a fixed and permanent rather than a transitory phenomenon.^[2]

Archaeological excavations on the foundations of the Rose and the Globe in the late twentieth century^[3] showed that all the London theatres had individual differences; yet their common function necessitated a similar general plan. The public theatres were three stories high, and built around an open space at the center. Usually polygonal in plan to give an overall rounded effect (though the Red Bull and the first Fortune were square), the three levels of inward-facing galleries overlooked the open center, into which jutted the stage—essentially a platform surrounded on three sides by the audience, only the rear being restricted for the entrances and exits of the actors and seating for the musicians. The upper level behind the stage could be used as a balcony, as in Romeo and Juliet, or as a position for an actor to harangue a crowd, as in Julius Caesar.

Usually built of timber, lath and plaster and with thatched roofs, the early theatres were vulnerable to fire, and gradually were replaced (when necessary) with stronger structures. When the Globe burned down in June 1613, it was rebuilt with a tile roof; when the Fortune burned down in December 1621, it was rebuilt in brick (and apparently was no longer square).

A different model was developed with the Blackfriars Theatre, which came into regular use on a longterm basis in 1599.^[4] The Blackfriars was small in comparison to the earlier theatres, and roofed rather than open to the sky; it resembled a modern theatre in ways that its predecessors did not. Other small enclosed theatres followed, notably the Whitefriars (1608) and the Cockpit (1617). With the building of the Salisbury Court Theatre in 1629 near the site of the defunct Whitefriars, the London audience had six theatres to choose from: three surviving large open-air "public" theatres, the Globe, the Fortune, and the Red Bull, and three smaller enclosed "private" theatres, the Blackfriars, the Cockpit, and the Salisbury Court.^[5] Audiences of the 1630s benefitted from a half-century of vigorous dramaturgical development; the plays of Marlowe and Shakespeare and their contemporaries were still being performed on a regular basis (mostly at the public theatres), while the newest works of the newest playwrights were abundant as well (mainly at the private theatres).

Around 1580, when both the Theatre and the Curtain were full on summer days, the total theatre capacity of London was about 5000 spectators. With the building of new theatre facilities and the formation of new companies, the capital's total theatre capacity exceeded 10,000 after 1610.^[6] In 1580, the poorest citizens could purchase admittance to the Curtain or the Theatre for a penny; in 1640, their counterparts could gain admittance to the Globe, the Cockpit, or the Red Bull—for exactly the same price. (Ticket prices at the private theatres were five or six times higher).

[edit] Performances

The acting companies functioned on a repertory system; unlike modern productions that can run for months or years on end, the troupes of this era rarely acted the same play two days in a row. Thomas Middleton's A Game at Chess ran for nine straight performances in August 1624 before it was closed by the authorities—but this was a unique, unprecedented, and unrepeatable phenomenon, due to the political content of the play. Consider the 1592 season of Lord Strange's Men at the Rose Theatre as far more representative: between Feb. 19 and June 23 the company played six days a week, minus Good Friday and two other days. They performed 23 different plays, some only once, and their most popular play of the season, The First Part of Hieronimo, (based on Kyd's The Spanish Tragedy), 15 times. They never played the same play two days in a row, and rarely the same play twice in a week.^[7] The workload on the actors, especially the leading performers like Edward Alleyn, must have been tremendous.

One distinctive feature of the companies was that they included only males. Until the reign of Charles II, female parts were played by adolescent boy players in women's costume.

[edit] Writers

The growing population of London, the growing wealth of its people, and their fondness for spectacle produced a dramatic literature of remarkable variety, quality, and extent. Although most of the plays written for the Elizabethan stage have been lost, over 600 remain extant.

The men (no women were professional dramatists in this era)^[8] who wrote these plays were primarily self-made men from modest backgrounds. Some of them were educated at either Oxford or Cambridge, but many were not. Although William Shakespeare was an actor, the majority do not seem to have been performers, and no major author who came on to the scene after 1600 is known to have supplemented his income by acting.

Not all of the playwrights fit modern images of poets or intellectuals. Christopher Marlowe was killed in an apparent tavern brawl, while Ben Jonson killed an actor in a duel. Several probably were soldiers.

Playwrights were normally paid in increments during the writing process, and if their play was accepted, they would also receive the proceeds from one day's performance. However, they had no ownership of the plays they wrote. Once a play was sold to a company, the company owned it, and the playwright had no control over casting, performance, revision or publication.

The profession of dramatist was challenging and far from lucrative.^[9] Entries in Philip Henslowe's Diary show that in the years around 1600 Henslowe paid as little as £6 or £7 per play. This was probably at the low end of the range, though even the best writers could not demand too much more. A playwright, working alone, could generally produce two plays a year at most; in the 1630s Richard Brome signed a contract with the Salisbury Court Theatre to supply three plays a year, but found himself unable to meet the workload. Shakespeare produced less than 40 solo plays in a career that spanned more than two decades; he was financially successful only because he was an actor and, most importantly, a shareholder in the company for which he acted and in the theatres they used. Ben Jonson achieved success as a purveyor of Court masques, and was talented at playing the patronage game that was an important part of the social and economic life of the era. Those who were playwrights pure and simple fared far less well; the biographies of early figures like George Peele and Robert Greene, and later ones like Brome and Philip Massinger, are marked by financial uncertainty, struggle, and poverty.

Playwrights dealt with the natural limitation on their productivity by combining into teams of two, three, four, and even five to generate play texts; the majority of plays written in this era were collaborations, and the solo artists who generally eschewed collaborative efforts, like Jonson and Shakespeare, were the exceptions to the rule. Dividing the work, of course, meant dividing the income; but the arrangement seems to have functioned well enough to have made it worthwhile. (The truism that says, diversify your investments, may have worked for the Elizabethan play market as for the modern stock market.) Of the 70-plus extant works in the canon of Thomas Dekker, roughly 50 are collaborations; in a single year, 1598, Dekker worked on 16 collaborations for impressario Philip Henslowe, and earned £30, or a little under 12 shillings per week—roughly twice as much as the average artisan's income of 1s. per day.^[10] At the end of his career, Thomas Heywood would famously claim to have had "an entire hand, or at least a main finger" in the authorship of some 220 plays. A solo artist usually needed months to write a play (though Jonson is said to have done Volpone in five weeks); Henslowe's Diary indicates that a team of four or five writers could produce a play in as little as two weeks. Admittedly, though, the Diary also shows that teams of Henslowe's house dramatists—Anthony Munday, Robert Wilson, Richard Hathwaye, Henry Chettle, and the others, even including a young John Webster—could start a project, and accept advances on it, yet fail to produce anything stageworthy. (Modern understanding of collaboration in this era is biased by the fact that the failures have generally disappeared with barely a trace; for one exception to this rule, see: Sir Thomas More.)^[11]

[edit] The End

The rising Puritan movement was hostile to the theatres, which the Puritans considered to be sinful for several reasons. The most commonly cited reason was that young men dressed up in female costume to play female roles. Theatres were located in the same parts of the city in which brothels and other forms of vice proliferated. When the Puritan faction of Parliament gained control over the city of London at the beginning of the English Civil War, it ordered the closing of all theatres on Sept. 2, 1642—though this was largely because the stage was being used to promote opposing political views. After the monarchy was restored in 1660 the theatres re-opened. The English King and many writers had spent years in France and were influenced by the flourishing French theatre of Louis XIV, especially in tragedy. However, Restoration audiences had no enthusiasm for structurally simple, well-shaped comedies such as those of Molière, but demanded bustling, crowded multi-plot action and fast comedic pace, and the Elizabethan features of multitude of scenes, multitude of characters, and melange of genres lived on in Restoration comedy. The Renaissance classics were the mainstay of the Restoration repertory, although many of the tragedies were adapted to conform to the new taste.

[edit] Genres

Genres of the period included the history play, which depicted English or European history. Shakespeare’s plays about the lives of kings, such as Richard III and Henry V, belong to this category, as do Christopher Marlowe's Edward II and George Peele's Famous Chronicle of King Edward the First.

Tragedy was a popular genre. Marlowe's tragedies were exceptionally popular, such as Dr. Faustus and The Jew of Malta. The audiences particularly liked revenge dramas, such as Thomas Kyd’s The Spanish Tragedy. John Webster’s The Duchess of Malfi offers a parade of bloody cruelties.

Comedies were common, too. A sub-genre developed in this period was the city comedy, which deals satirically with life in London after the fashion of Roman New Comedy. Examples are Thomas Dekker's The Shoemaker's Holiday and Thomas Middleton's A Chaste Maid in Cheapside.

Though marginalized, the older genres like pastoral (The Faithful Shepherdess, 1608), and even the morality play (Four Plays in One, ca. 1608-13) could exert influences. After about 1610, the new hybrid sub-genre of the tragicomedy enjoyed an efflorescence, as did the masque throughout the reigns of the first two Stuart kings, James I and Charles I.

[edit] List of playwrights

William Alabaster William Alley Robert Armin Thomas Ashton William Barksted Barnabe Barnes Lording Barry Francis Beaumont Sir William Berkeley Samuel Brandon Richard Brome Lodowick Carlell William Cartwright William Cavendish Robert Chamberlain George Chapman Henry Chettle John Clavell Robert Daborne Samuel Daniel William Davenant Robert Davenport John Day Thomas Dekker Edward de Vere Michael Drayton Richard Edwardes Nathan Field

John Fletcher John Ford Abraham Fraunce Ulpian Fulwell Thomas Garter George Gascoigne Henry Glapthorne Thomas Goffe Arthur Golding Robert Greene Richard Hathwaye William Haughton Thomas Heywood Thomas Hughes Ben Jonson Henry Killigrew Thomas Killigrew Thomas Kyd Thomas Legge Thomas Lodge Thomas Lupton John Lyly Gervase Markham Christopher Marlowe Shackerley Marmion John Marston Philip Massinger Thomas May

Thomas Middleton Anthony Munday Thomas Nabbes Thomas Nashe Thomas Norton George Peele John Phillips John Pikering Henry Porter Thomas Preston William Rankins Samuel Rowley William Rowley Joseph Rutter Thomas Sackville William Sampson William Shakespeare Edward Sharpham Henry Shirley James Shirley Philip Sidney Wentworth Smith Sir John Suckling Robert Tailor Cyril Tourneur John Webster Sir Ken Rublow George Wilkins Arthur Wilson

[edit] List of players Edward Alleyn Robert Armin Christopher Beeston Richard Burbage Henry Condell Alexander Cooke Nathan Field John Heminges Thomas Heywood Will Kempe Augustine Phillips John Lowin William Rowley William Shakespeare Richard Tarlton Joseph Taylor Nicholas Tooley

[edit] List of playhouses The Theatre The Curtain The Rose The Swan The Globe Blackfriars Theatre The Fortune The Hope Red Bull Theatre Red Lion (theatre) Cockpit Theatre Salisbury Court Theatre Whitefriars Theatre Newington Butts Theatre

[edit] List of playing companies The Admiral's Men The King's Men Lady Elizabeth's Men Leicester's Men The Lord Chamberlain's Men Oxford's Boys Oxford's Men Prince Charles's Men Queen Anne's Men Queen Elizabeth's Men Worcester's Men The Children of Paul's The Children of the Chapel (Queen's Revels)

[edit] Other significant people

• George Buc, Master of the Revels 1609 - 1622
• Cuthbert Burbage, entrepreneur
• James Burbage, entrepreneur
• Philip Henslowe, entrepreneur
• Henry Herbert, Master of the Revels 1623-1673
• Francis Langley, entrepreneur
• Edmund Tilney, Master of the Revels 1579 - 1609

[edit] See also

• History of theatre

[edit] Notes

1. ^ Gurr, Shakespearean Stage, pp. 12-18.
2. ^ A complete roster of what the Elizabethans called "public" theatres would include the Red Lion (1567), the Newington Butts theatre (ca. 1580?), the converted Boar's Head Inn (1598), and the Hope Theatre (1613), none of them major venues for drama in the era.
3. ^ Gurr, pp. 123-31 and 142-6.
4. ^ The Blackfriars site was used as a theatre in the 1576-84 period; but it became a regular venue for drama only later.
5. ^ Other "private" theatres of the era included the theatre near St Paul's Cathedral used by the Children of Paul's (1575) and the occasionally-used Cockpit-in-Court (1629).
6. ^ Ann Jennalie Cook, The Privileged Playgoers of Shakespeare's London, 1576-1642, Princeton, New Jersey, Princeton University Press, 1981; pp. 176-7.
7. ^ Halliday, Shakespeare Companion, p. 374; Chambers, Elizabethan Stage, Vol. 3, p. 396, reflects earlier interpretations of the identity of the Hieronimo play.
8. ^ A few aristocratic women engaged in closet drama or dramatic translations. Chambers, Vol. 3, lists Elizabeth, Lady Cary; Mary Herbert, Countess of Pembroke; Jane, Lady Lumley; and Elizabeth Tudor.
9. ^ Halliday, pp. 374-5.
10. ^ Gurr, Shakespearean Stage, p. 72.
11. ^ Halliday, pp. 108-9, 374-5, 456-7.

[edit] References

• Chambers, E. K. The Elizabethan Stage. 4 Volumes, Oxford, Clarendon Press, 1923.
• Gurr, Andrew. The Shakespearean Stage 1574–1642. Third edition, Cambridge, Cambridge University Press, 1992.
• Halliday, F. E. A Shakespeare Companion 1564–1964. Baltimore, Penguin, 1964.

[edit] External links

• Shakespeare and the Globe from Encyclopaedia Britannica; a more comprehensive resource on the theatre of this period than its name suggests.
• A Lecture on Elizabethan Theatre by Thomas Larque