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84-567: The Curtain Theatre was an Elizabethan playhouse located in Hewett Street, Shoreditch (within the modern London Borough of Hackney ), just outside the City of London . It opened in 1577, and continued staging plays until 1624. The Curtain was built some 200 yards (180 m) south of London's first playhouse, The Theatre , which had opened a year before, in 1576. It was called the "Curtain" because it

168-519: A "gentleman": in 1585, Lanman made an agreement with the proprietor of the Theatre, James Burbage , to use the Curtain as a supplementary house, or "easer," to the more prestigious older playhouse. From 1597 to 1599, it became the premier venue of Shakespeare's Company, the Lord Chamberlain's Men , who had been forced to leave their former playing space at The Theatre after the latter closed in 1596. It

252-509: A Civil War, call for all possible Means to appease and avert the Wrath of God, appearing in these Judgements; among which, Fasting and Prayer, having been often tried to be very effectual, having been lately and are still enjoined; and whereas Public Sports do not well agree with Public Calamities, nor Public Stage-plays with the Seasons of Humiliation, this being an Exercise of sad and pious Solemnity, and

336-732: A better view of the stage or to be more separate from the crowd, they would pay more for their entrance. Due to inflation that occurred during this time period, admission increased in some theaters from a penny to a sixpence or even higher. Commercial theaters were largely located just outside the boundaries of the City of London , since City authorities tended to be wary of the adult playing companies, but plays were performed by touring companies all over England. English companies even toured and performed English plays abroad, especially in Germany and in Denmark . Upper class spectators would pay for seats in

420-557: A certain notoriety by killing actor Gabriel Spencer in a duel in nearby Hoxton Fields . The Lord Chamberlain's Men departed the Curtain when the Globe Theatre , which they built to replace the Theatre, was ready for use in 1599. For seven years Henry Lanman (owner of the Curtain) had an agreement with James Burbage (owner of the Theatre) that all profit would be shared between them. This deal

504-490: A courtyard made from compacted gravel for those with less to spend. The galleries were straight. Also uncovered was a fragmentary ceramic bird whistle, dating from the late 16th century. This raised the question of whether the bird whistle was merely a Tudor toy or a prop for plays that needed sound effects. In November 2016, a tunnel structure – accessed by doors on either end of the stage – was unearthed, which would have allowed actors to exit from one side and come on again from

588-709: A licensed acting company, they were allowed to dress above their standing in society for specific roles in a production. 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. About 3,000 plays were written for the Elizabethan stage, and although most of them have been lost, at least 543 remain. The people 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 and Ben Jonson were actors,

672-414: A little under 12 shillings per week—roughly twice as much as the average artisan's income of 1 s . per day. 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

756-534: A mount and a token, as well as personal items, including a bone comb. In August 2019 the structural remains and below-ground deposits were designated a Scheduled Monument . The high-rise residential tower block on the site is named " The Stage "; and the two adjacent low-rise office blocks "The Bard" and "The Hewett". A reconstruction of the Curtain Theatre is used in the 1998 film Shakespeare in Love . The theatre

840-468: A share in the Curtain and left it to his heirs in his last will and testament in 1603. King's Men member John Underwood did the same in 1624. The fact that both of these shareholders belonged to Shakespeare's company may indicate that the re-organization of the Curtain occurred when the Lord Chamberlain's Men were acting there; otherwise, it would have been very unwise of Burbage to pool profits if he

924-547: 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. Short yellow lines indicate 27 years—the average age these authors began their playwriting careers Genres of

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1008-475: Is how many believe Lanman was able to afford to open the Curtain, the rest is all very unclear. J. Leeds Barroll focuses in Shakespeare studies: An annual gathering of Research, Criticism and Reviews on the fact that Henry Lanman had offered the Curtain as an easer to James Burbage, proprietor of the Theatre. Thereby, he assumes that Lanman's business, the Curtain, must have been doing as well as Burbage's business,

1092-574: Is the main setting for the jukebox musical & Juliet , which takes place during the first performance of Romeo and Juliet . 51°31′23″N 0°4′47″W  /  51.52306°N 0.07972°W  / 51.52306; -0.07972 Elizabethan theatre Dutch Renaissance and Golden Age The English Renaissance theatre or Elizabethan theatre was the theatre of England from 1558 to 1642. Its most prominent playwrights were William Shakespeare , Christopher Marlowe and Ben Jonson . The term English Renaissance theatre encompasses

1176-576: The Long Parliament , pushed by the Parliamentarian party , under Puritan influence, banned the staging of plays in the London theatres though it did not, contrary to what is commonly stated, order the closure, let alone the destruction, of the theatres themselves: Whereas the distressed Estate of Ireland, steeped in her own Blood, and the distracted Estate of England, threatened with a Cloud of Blood by

1260-520: The Red Bull (1604). Elsewhere, the Vagabonds Act 1572 left itinerant actors liable to prosecution as vagrants and caused them to seek wealthy sponsors who could provide a permanent play house for them. At the same time, members of the aristocracy found it useful to have a playing company available to entertain royal or noble guests and thus advance their social status. Archaeological excavations on

1344-449: The Red Lion , opened in 1567 but it was a short-lived failure. The first successful theatres, such as The Theatre , opened in 1576. The establishment of large and profitable public theatres was an essential enabling factor in the success of English Renaissance drama. Once they were in operation, drama could become a fixed and permanent, rather than transitory, phenomenon. Their construction

1428-888: 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. Audiences of

1512-403: The second Beaumont and Fletcher folio of 1679 , Underwood is mentioned in the casts of 18 dramas: His total appearances equals those of Joseph Taylor and Robert Benfield , and is exceeded only by John Lowin 's 21. Considering that his career was two decades shorter than Taylor's or Benfield's (both of whom acted until the theatres closed in 1642), Underwood was clearly a mainstay of

1596-510: The 1400s, dramas were often restricted to mummer plays with someone who read out all the parts in Latin. With the rediscovery and redistribution of classical materials during the English Renaissance , Latin and Greek plays began to be restaged. These plays were often accompanied by feasts. Queen Elizabeth I viewed dramas during her visits to Oxford and Cambridge. A well-known play cycle which

1680-458: The 1630s benefited 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 Theater and the Curtain were full on summer days,

1764-400: The Curtain in 1577, had originally run that theatre as his private business; yet sometime before 1603 the Curtain had clearly been re-organized into a shareholders' enterprise. The fact that two men of Shakespeare's troupe owned shares in the Curtain suggests that this re-organization occurred around the time the Lord Chamberlain's Men were acting at the Curtain in the 1597–99 period. (Pope

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1848-694: The Curtain or the Theatre that year. The Curtain was named in John Stow 's Survey of London in 1598, but was not listed in the 1603 edition. In 1600, the Privy Council tried unsuccessfully to shut down the Curtain theatre, and in 1603 the Curtain became the playhouse of Queen Anne's Men (formerly known as Worcester's Men , and formerly at the Rose Theatre, where they'd played Heywood's A Woman Kill'd With Kindness in February of that year). In 1607, The Travels of

1932-506: The Elizabethan court included St. George’s Chapel , the Chapel Royal, and St. Paul’s . These schools performed plays and other court entertainments for the Queen. Between the 1560s and 1570s these schools had begun to perform for general audiences as well. Playing companies of boy actors were derived from choir schools. John Lyly is an earlier example of a playwright contracted to write for

2016-406: The Elizabethan era was to make up for the lack of scenery, set, and props on stage. It created a visual effect for the audience, and it was an integral part of the overall performance. Since the main visual appeal on stage were the costumes, they were often bright in colour and visually entrancing. Colours symbolized social hierarchy, and costumes were made to reflect that. For example, if a character

2100-480: The Elizabethan era, research has been conclusive about how many actors and troupes there were in the 16th century, but little research delves into the roles of the actors on the English renaissance stage. The first point is that during the Elizabethan era, women were not allowed to act on stage. The actors were all male; in fact, most were boys. For plays written that had male and female parts, the female parts were played by

2184-518: The King's Men along with William Ostler , another former member of the Chapel Children troupe. Underwood was a member of the cast of the King's Men's production of Jonson's The Alchemist in 1610 , and was in the casts of many productions that followed, including Jonson's Catiline ( 1611 ) and John Webster 's The Duchess of Malfi (the revival of c. 1621). In the 25 cast lists added to plays in

2268-540: The Swan. Theatres were also constructed to be able to hold a large number of people. A different model was developed with the Blackfriars Theatre , which came into regular use on a long-term basis in 1599. 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

2352-426: The Theatre, since both, Lanman and Burbage, had agreed on a pooling arrangement for seven years in 1585, to pool profits. As far as is known, Lanman ran the Curtain as a private concern for the first phase of its existence; he died in 1606 and it is assumed by Edmund Chambers that it had been re-arranged into a shareholder's enterprise before his death at some point. Thomas Pope , one of the Lord Chamberlain's Men, owned

2436-478: The Three English Brothers, by Rowley , Day , and Wilkins , was performed at the Curtain. The Curtain was in use from 1577 until at least 1624, after which its ultimate fate, and date of eventual closure, is not known, as there is no record of it after 1627. The Curtain was believed to have been built near The Theatre , but the exact location was for many years unknown. However, a commemorative plaque

2520-664: The ban to be temporary ("... while these sad causes and set Times of Humiliation do continue, Public Stage Plays shall cease and be forborn") but does not assign a time limit to it. Even after 1642, during the English Civil War and the ensuing Interregnum ( English Commonwealth ), some English Renaissance theatre continued. For example, short comical plays called drolls were allowed by the authorities, while full-length plays were banned. The theatre buildings were not closed but rather were used for purposes other than staging plays. The performance of plays remained banned for most of

2604-677: The children's companies; Lyly wrote Gallathea , Endymion , and Midas for Paul’s Boys. Another example is Ben Jonson , who wrote Cynthia’s Revels . Academic drama stems from late medieval and early modern practices of miracles and morality plays as well as the Feast of Fools and the election of a Lord of Misrule . The Feast of Fools includes mummer plays . The universities, particularly Oxford and Cambridge , were attended by students studying for bachelor's degrees and master's degrees, followed by doctorates in Law, Medicine, and Theology. In

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2688-569: The clothes back to theatre companies. In the Tudor and Elizabethan eras, there were laws stating that certain classes could only wear clothing fitting of their status in society. There was a discrimination of status within the classes. Higher classes flaunted their wealth and power through the appearance of clothing, however, courtesans and actors were the only exceptions – as clothing represented their 'working capital', as it were, but they were only permitted to dress so while working . If actors belonged to

2772-565: The company during his acting career. Underwood died between 4 and 10 October 1624. His last will and testament was drawn up on the 4th; a codicil was appended on the 11th, after his death. He left his property in a trust for his five minor children (John, Elizabeth, Burbage, Thomas, and Isabel). His executors and overseers, who included John Lowin , Henry Condell , and John Heminges , were left 11 shillings each to buy memorial rings. Shakespeare's 1616 will had left Condell, Heminges and Richard Burbage 28 shillings sixpence (28 s. 6 d. ) each for

2856-449: The different roles simultaneously. The reason for this was for the acting companies to control salary costs, or to be able to perform under conditions where resources such as other actor companies lending actors were not present. There were two acting styles implemented: formal and natural. Formal acting is objective and traditional, while natural acting attempts to create an illusion for the audience by remaining in character and imitating

2940-415: The different roles they played. At some points, the bookkeeper would not state the narrative of the scene, so the audience could find out for themselves. In Elizabethan and Jacobean plays, the plays often exceeded the number of characters/roles and did not have enough actors to fulfil them, thus the idea of doubling roles came to be. Doubling roles is used to reinforce a plays theme by having the actor act out

3024-447: The economics of the profession, the character of the drama changed towards 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 theatres, drama became more oriented towards the tastes and values of an upper-class audience. By

3108-545: The era survived not in printed texts but in manuscript form. The rising Puritan movement was hostile toward theatre, as they felt that "entertainment" was sinful. Politically, playwrights and actors were clients of the monarchy and aristocracy, and most supported the Royalist cause. The Puritan faction, long powerful in London, gained control of the city early in the First English Civil War , and on 2 September 1642,

3192-491: The existence of major English playing companies from 1572 (" Acte for the punishment of Vacabondes ", which legally restricted acting to players with a patron of sufficient degree) to 1642 (the closing of the theatres by Parliament ). A variety of strolling players, and even early London-based troupes existed before 1572. The situations were often fluid, and much of this history is obscure; this timeline necessarily implies more precision than exists in some cases. The labels down

3276-408: The fictional circumstances. The formal actor symbolises while the natural actor interprets. The natural actor impersonates while the formal actor represents the role. Natural and formal are opposites of each other, where natural acting is subjective. Overall, the use of these acting styles and the doubled roles dramatic device made Elizabethan plays very popular. One of the main uses of costume during

3360-555: The foundations of the Rose and the Globe in the late 20th century showed that all the London theatres had individual differences, but their common function necessitated a similar general plan. The public theatres were three stories high and built around an open space at the centre. Usually polygonal in plan to give an overall rounded effect, although the Red Bull and the first Fortune were square. The three levels of inward-facing galleries overlooked

3444-520: The galleries, using cushions for comfort. In the Globe Theatre, nobles could sit directly by the side on the stage. 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

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3528-417: The later part of the reign of Charles I , few new plays were being written for the public theatres, which sustained themselves on the accumulated works of the previous decades. The English grammar schools , like those on the continent, placed special emphasis on the trivium : grammar, logic, and rhetoric . Though rhetorical instruction was intended as preparation for careers in civil service such as law,

3612-555: The left indicate the most common names for the companies. The bar segments indicate the specific patron. In the case of children's companies (a distinct legal situation) some founders are noted. John Underwood (actor) Underwood began as a boy player with the Children of the Chapel , and was cast in that company's productions of Ben Jonson 's Cynthia's Revels ( 1600 ) and The Poetaster ( 1601 ). In 1608 or soon after, he joined

3696-474: 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. Their lives were subject to the same levels of danger and earlier mortality as all who lived during the early modern period: Christopher Marlowe was killed in an apparent tavern brawl, while Ben Jonson killed an actor in a duel. Several were probably soldiers. Playwrights were normally paid in increments during

3780-475: The new hybrid subgenre of the tragicomedy enjoyed an efflorescence, as did the masque throughout the reigns of the first two Stuart kings, James I and Charles I . Plays on biblical themes were common, Peele's David and Bethsabe being one of the few surviving examples. Only a minority of the plays of English Renaissance theatre were ever printed. Of Heywood's 220 plays, only about 20 were published in book form. A little over 600 plays were published in

3864-472: The next eighteen years, becoming allowed again after the Restoration of the monarchy in 1660. The theatres began performing many of the plays of the previous era, though often in adapted forms. New genres of Restoration comedy and spectacle soon evolved, giving English theatre of the later seventeenth century its distinctive character. English Renaissance playing company timeline This timeline charts

3948-528: The open centre, into which jutted the stage: essentially a platform surrounded on three sides by the audience. The rear side was 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 and Antony and Cleopatra , or as a position from which an actor could harangue a crowd, as in Julius Caesar . The pit

4032-745: The other being Spectacles of Pleasure, too commonly expressing lascivious Mirth and Levity: It is therefore thought fit, and Ordained, by the Lords and Commons in this Parliament assembled, That, while these sad causes and set Times of Humiliation do continue, Public Stage Plays shall cease, and be forborn, instead of which are recommended to the People of this Land the profitable and seasonable considerations of Repentance, Reconciliation, and Peace with God, which probably may produce outward Peace and Prosperity, and bring again Times of Joy and Gladness to these Nations. The Act purports

4116-426: The other without being seen by the audience. Fragments of ceramic money boxes were found, which would have been used to collect entry fees from theatregoers, before being taken to an office to be smashed and the money counted: this office was known as the " box office ", which is the origin of the term we use today. Glass beads and pins were unearthed along with drinking vessels and clay pipes. The team also came across

4200-408: The period as a whole, most commonly in individual quarto editions. (Larger collected editions, like those of Shakespeare's , Ben Jonson's , and Beaumont and Fletcher's plays, were a late and limited development.) Through much of the modern era, it was thought that play texts were popular items among Renaissance readers that provided healthy profits for the stationers who printed and sold them. By

4284-703: The period between 1562—following a performance of Gorboduc , the first English play using blank verse , at the Inner Temple during the Christmas season of 1561—and the ban on theatrical plays enacted by the English Parliament in 1642. In a strict sense "Elizabethan" only refers to the period of Queen Elizabeth's reign (1558–1603). English Renaissance theatre may be said to encompass Elizabethan theatre from 1562 to 1603, Jacobean theatre from 1603 to 1625, and Caroline theatre from 1625 to 1642. Along with

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4368-452: 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 . History plays also dealt with more recent events, like A Larum for London which dramatizes

4452-513: The public theatres (like the Globe) took place in the afternoon with no artificial lighting, but when, in the course of a play, the light began to fade, candles were lit. In the enclosed private theatres (like the Blackfriars) artificial lighting was used throughout. Plays contained little to no scenery as the scenery was described by the actors or indicated by costume through the course of the play. In

4536-538: The rhetorical canons of memory ( memoria ) and delivery ( pronuntiatio ), gesture and voice, as well as exercises from the progymnasmata , such as the prosopopoeia , taught theatrical skills. Students would typically analyse Latin and Greek texts, write their own compositions, memorise them, and then perform them in front of their instructor and their peers. Records show that in addition to this weekly performance, students would perform plays on holidays, and in both Latin and English. Choir schools connected with

4620-599: The sack of Antwerp in 1576. A better known play, Peele's The Battle of Alcazar (c. 1591), depicts the battle of Alcácer Quibir in 1578. Tragedy was a very popular genre. Marlowe's tragedies were exceptionally successful, such as Dr. Faustus and The Jew of Malta . The audiences particularly liked revenge dramas , such as Thomas Kyd 's The Spanish Tragedy . The four tragedies considered to be Shakespeare's greatest ( Hamlet , Othello , King Lear and Macbeth ) were composed during this period. Comedies were common, too. A subgenre developed in this period

4704-559: The same purpose. Underwood's property included shares in the King's Men's theatres, the Globe and the Blackfriars , as well as a share in the Curtain Theatre in Shoreditch . The last is a significant point. Thomas Pope , a member of the Lord Chamberlain's Men who died in 1603, had also possessed a share in the Curtain and had listed it in his will. As far as is known, Henry Lanman, who built

4788-543: 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. The workload on the actors, especially the leading performers like Richard Burbage or Edward Alleyn , must have been tremendous. One distinctive feature of the companies was that only men or boys performed. Female parts were played by adolescent boy players in women's costume. Some companies were composed entirely of boy players. Performances in

4872-498: The social and economic life of the era. Those who were purely playwrights 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

4956-467: 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. Of the 70-plus known works in the canon of Thomas Dekker , roughly 50 are collaborations. In a single year (1598) Dekker worked on 16 collaborations for impresario Philip Henslowe, and earned £30, or

5040-411: The theatre was probably an adaptation of an existing structure, in the form of a rectangle measuring 22×25 metres, rather than being round or polygonal. Walls survived up to 1.5 metres (5 ft) high in places; MOLA identified the courtyard, where theatregoers stood, and the inner walls, which held the galleries. The theatre had timber galleries with mid and upper areas for wealthier audience members, and

5124-593: The time period of the play. The most expensive pieces were given to higher class characters because costuming was used to identify social status on stage. The fabrics within a playhouse would indicate the wealth of the company itself. The fabrics used the most were: velvet, satin, silk, cloth-of-gold, lace and ermine. For less significant characters, actors would use their own clothes. Actors also left clothes in their will for following actors to use. Masters would also leave clothes for servants in their will, but servants weren't allowed to wear fancy clothing, instead, they sold

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5208-459: The time. Elizabethan actors never played the same show on successive days and added a new play to their repertoire every other week. These actors were getting paid within these troupes so for their job, they would constantly learn new plays as they toured different cities in England. In these plays, there were bookkeepers that acted as the narrators of these plays and they would introduce the actors and

5292-408: The total theater capacity of London was about 5000 spectators. With the building of new theater facilities and the formation of new companies, London's total theater capacity exceeded 10,000 after 1610. Ticket prices in general varied during this time period. The cost of admission was based on where in the theatre a person wished to be situated, or based on what a person could afford. If people wanted

5376-469: The turn of the 21st century, the climate of scholarly opinion shifted somewhat on this belief: some contemporary researchers argue that publishing plays was a risky and marginal business —though this conclusion has been disputed by others. Some of the most successful publishers of the English Renaissance, like William Ponsonby or Edward Blount , rarely published plays. A small number of plays from

5460-607: The university, the Inns of Court elected their own Lord of Misrule . Other activities included participation in moot court , disputation , and masques . Plays written and performed in the Inns of Court include Gorboduc , Gismund of Salerne , and The Misfortunes of Arthur . An example of a famous masque put on by the Inns was James Shirley 's The Triumph of Peace . Shakespeare 's The Comedy of Errors and Twelfth Night were also performed here, although written for commercial theater. The first permanent English theatre,

5544-404: The workload. Shakespeare produced fewer than 40 solo plays in a career that spanned more than two decades: he was financially successful 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

5628-494: 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. Entries in Philip Henslowe 's Diary show that in

5712-399: 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

5796-401: The youngest boy players. Stronger female roles in tragedies were acted by older boy players because they had more experience. As a boy player, many skills had to be implemented such as voice and athleticism (fencing was one). In Elizabethan entertainment, troupes were created and they were considered the actor companies. They travelled around England as drama was the most entertaining art at

5880-484: Was London's second playhouse. The name derives from the curtain wall of the adjacent St John the Baptist Holywell monastery. Little is known of the companies that performed there, or of the plays they performed. The first clear mention of the Curtain is in 1584, when the City of London petitioned the parish of Shoreditch to shut down their playhouses. The proprietor appears to have been Henry Lanman, described as

5964-495: Was a member of the company at that time, while Underwood was not; the implication is that Underwood purchased his share in the Curtain from another troupe member.) When the brothers Richard and Cuthbert Burbage built The Globe Theatre in early 1599, they organized it as a shareholders' concern, keeping 50% of the business for themselves and dividing the other 50% among four of the Lord Chamberlain's Men – Shakespeare, Pope, Heminges, and Augustine Phillips . (Originally William Kempe

6048-478: Was closed by the authorities; but this was due to the political content of the play and was a unique, unprecedented and unrepeatable phenomenon. The 1592 season of Lord Strange's Men at the Rose Theatre was far more representative: between 19 February and 23 June 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

6132-620: Was constructed in Shoreditch in 1576 by James Burbage with his brother-in-law John Brayne (the owner of the unsuccessful Red Lion playhouse of 1567) and the Newington Butts playhouse was set up, probably by Jerome Savage, some time between 1575 and 1577. The Theatre was rapidly followed by the nearby Curtain Theatre (1577), the Rose (1587), the Swan (1595), the Globe (1599), the Fortune (1600), and

6216-437: Was doing better in the first place. Thus, the suggestion is given that both proprietors were doing equal business. Burbage's father James had shares in the theatre at the time of his death. The London theatres, including the Curtain, were closed for much of the period from September 1592 to April 1594 due to outbreaks of bubonic plague . In 1597, people wrote to the local magistrates' court demanding that no plays take place at

6300-448: Was erected at 18 Hewett Street. In 2012, archaeologists from MOLA (Museum of London Archaeology) announced that they had discovered the remains of the theatre during trial excavations. In 2013 plans were submitted to develop the site with a 40-storey tower of 400 apartments, plus a Shakespeare museum, 250-seat outdoor auditorium and park, with the archaeological remains visible in a glass enclosure. In May 2016, excavators announced that

6384-459: Was located near a plot of land called Curtain Close, which derived its name in turn from its proximity to the walls of Holywell Priory , a curtain wall being a section of wall between two bastions . (The name bears no relationship to the front curtain associated with modern theatres.) The remains of the theatre were rediscovered in archaeological excavations in 2012–16. The most significant revelation

6468-469: Was meant to be the seventh partner, but he sold out to the other four minority shareholders, giving each of them a 12.5% stake instead of 10%.) It has been argued that the Burbages pursued this arrangement out of necessity: their financial problems involving The Theatre and the Blackfriars left them in need of outside investors. It is generally held that the Globe arrangement constituted the first case in which

6552-619: Was prompted when the Mayor and Corporation of London first banned plays in 1572 as a measure against the plague, and then formally expelled all players from the city in 1575. This prompted the construction of permanent playhouses outside the jurisdiction of London, in the liberties of Halliwell/Holywell in Shoreditch and later the Clink , and at Newington Butts near the established entertainment district of St. George's Fields in rural Surrey. The Theatre

6636-591: Was royalty, their costume would include purple. The colours, as well as the different fabrics of the costumes, allowed the audience to know the status of each character when they first appeared on stage. Costumes were collected in inventory. More often than not, costumes wouldn't be made individually to fit the actor. Instead, they would be selected out of the stock that theatre companies would keep. A theatre company reused costumes when possible and would rarely get new costumes made. Costumes themselves were expensive, so usually players wore contemporary clothing regardless of

6720-423: Was that the Curtain was rectangular, not round. The excavation revealed a 14-metre (46 ft) stage, and evidence of a tunnel under the stage and galleries at the first floor level. Small finds included a ceramic bird whistle; ceramic money boxes for collecting entry fees; beads probably used for decorating stage costumes; and a small statue of Bacchus . The Curtain Theatre was built in 1577 in Shoreditch , and

6804-525: 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 marginalised, 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,

6888-468: Was the place where the poorest audience members could view the show. Around the 1600s a new area was introduced into the theaters, a 'gullet'. A gullet was an invisible corridor that the actors used to go to the wings of the stage where people usually changed clothes quickly . The playhouses were generally built with timber and plaster. Individual theatre descriptions give additional information about their construction, such as flint stones being used to build

6972-474: Was the venue of several of Shakespeare's plays, including Romeo and Juliet (which, according to contemporary playwright John Marston in his satire Scourge of Villainy (1598), received "Curtain plaudities" there), Henry IV Part I and Part II . The Lord Chamberlain's Men also performed Ben Jonson 's Every Man in His Humour here in 1598, with Shakespeare in the cast. Later that same year Jonson gained

7056-663: Was written and performed in the universities was the Parnassus Plays . Upon graduation, many university students, especially those going into law, would reside and participate in the Inns of Court . The Inns of Court were communities of working lawyers and university alumni. Notable literary figures and playwrights who resided in the Inns of Court include John Donne , Francis Beaumont , John Marston , Thomas Lodge , Thomas Campion , Abraham Fraunce , Sir Philip Sidney , Sir Thomas More , Sir Francis Bacon , and George Gascoigne . Like

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