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90-759: The Theatre was an Elizabethan playhouse in Shoreditch (in Curtain Road, part of the modern London Borough of Hackney ), just outside the City of London . Built in 1576, after the Red Lion , it was the first permanent theatre built exclusively for the showing of theatrical productions in England , and its first successful one. Actor-manager James Burbage built it near the family home in Holywell Street . The Theatre's history includes

180-509: 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

270-732: 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

360-452: A different mortgage" Brayne and Burbage had never written a contract, which eventually led to many quarrels concerning who spent what on getting The Theatre started. Throughout the building of The Theatre, Burbage and Brayne continually became indebted to each other. To fix this they constructed schemes to keep the building of The Theatre going. John Hind was one of the creditors for the construction of The Theatre, however, almost nothing else

450-527: A lease on the site on 25 March 1576, three weeks before Burbage's lease in Shoreditch. Newington Butts was clearly established by Lady Day 1577, and Wickham et al. interpret the available documents as saying that Savage was adapting an existing building constructed by Richard Hicks rather than building from scratch. The design of The Theatre was possibly adapted from the inn-yards that had served as playing spaces for actors and/or bear baiting pits. The building

540-709: 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,

630-414: 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

720-455: A model that subsequent companies would follow. The 1572 letter was signed by Burbage, John Perkin, John Laneham, William Johnson, Robert Wilson , and Thomas Clarke. The first five men are also listed on the royal patent of 10 May 1574, the first royal patent granted to any company of players after the Vagabonds Act 1572. The Queen's warrant authorized the company "to use, exercise, and occupy

810-570: A number of important acting troupes including the Lord Chamberlain's Men , which employed Shakespeare as actor and playwright. After a dispute with the landlord, the theatre was dismantled and the timbers used in the construction of the Globe Theatre on Bankside . The Mayor and Corporation of London banned plays in 1572 as a measure against the plague , not wanting to attract crowds of strangers. In 1575 they formally expelled all players from

900-547: 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

990-523: A third penny, procure a stool. One of the galleries, though sources do not state which, was divided into small compartments that could be used by the wealthy and aristocrats. The playhouse was a timber building with a tile roof; other materials used to construct the Theatre were brick, sand, lime, lead, and iron. Owing to a lack of paperwork not much is truly known about the Theatre's appearance, but it has been described as an "amphitheater". The Theatre opened in

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1080-655: Is known about him except that there was also a contract between him and Burbage/Brayne which entailed that he arrange players for them. One of their schemes was to put on plays in The Theatre while it was still being built, to raise money for further construction. Although Burbage's son later claimed the Theatre as the first permanent playhouse in the London conurbation, it may not have been the first permanent theatre to serve Londoners. The Newington Butts Theatre may have been built as early as 1575, certainly actor Jerome Savage renewed

1170-541: Is possible that an eleven-year-old William Shakespeare was among the crowds that witnessed the event; he may later have referred to its image of "Arion on the dolphin's back" in Twelfth Night , I, ii, 15. When James Burbage and his brother-in-law John Brayne built The Theatre , the first successful commercial public theatre in England, in 1576 , Leicester's was the company that occupied its stage when performances began in

1260-414: 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

1350-527: 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

1440-520: 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

1530-399: 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

1620-888: 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

1710-510: 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

1800-508: 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,

1890-697: The Christmas holidays in both 1574 and 1575. As Leicester's servants, the company also had a central role in Dudley's entertainments of Queen Elizabeth at his castle at Kenilworth in Warwickshire in 1566, 1572, and 1575. The last of these was especially noteworthy: it lasted from July 9 through July 27; its main device was The Delivery of the Lady of the Lake. Since Kenilworth lies only twelve miles northeast of Stratford-upon-Avon , it

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1980-506: 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

2070-406: 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

2160-480: 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

2250-463: 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 the economics of the profession, the character of the drama changed towards

2340-512: The Red Lion) on property that had originally been the grounds of the dissolved Halliwell Priory (or Holywell). Brayne had advanced Burbage the money needed to build The Theatre, and in return, Brayne received a portion of the profits and owned some of the property (Burbage married Brayne's daughter Ellen in 1575). The Theatre was in Shoreditch, beyond the northern boundary of the City of London and outside

2430-540: 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

2520-618: The Theatre and move the supplies. He also attempted to sue Cuthbert and Richard Burbage for trespassing. In August 2008, archaeologists from the Museum of London excavating in New Inn Broadway, Shoreditch, announced that they had found the foundation of a polygonal structure they believed to be the remains of the north-eastern corner of The Theatre. The Theatre and Shakespeare's involvement with it are commemorated by two plaques on 86–90 Curtain Road,

2610-454: The art and faculty of playing comedies, tragedies, interludes, stage plays and other such like...as well within our city of London and liberties of the same, as also within the liberties and freedoms of any our cities, towns, boroughs etc. whatsoever...throughout our Realm of England." The warrant granted to Leicester's Men had one other crucial aspect: it cancelled earlier policies that allowed local officials to censure or disallow plays. Under

2700-565: The autumn of 1576, possibly as a venue for Leicester's Men , the acting company of Robert Dudley, 1st Earl of Leicester of which James Burbage was a member. In the 1580s the Admiral's Men , of which James Burbage's son, Richard was a member, took up residence. After a disagreement between the company and young Burbage, most of the company left for the Rose Theatre which was under the management of Philip Henslowe . In 1594, Richard Burbage became

2790-411: The autumn of that year. The period from 1576 to 1583 was the apex of the company's fortunes. In 1583, the foundation of a new company, Queen Elizabeth's Men , stripped Leicester's Men of its three most talented and prominent members, Robert Wilson, John Laneham, and Richard Tarlton . (William Johnson may also have joined the Queen's Men at this time or soon after.) It is thought that Leicester's company

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2880-664: 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

2970-539: The building at the corner with New Inn Yard currently occupied by a Foxtons office. The remains of the theatre are listed as a scheduled monument . Berry, Herbert. "John Brayne and his other brother-in-law." Shakespeare Studies (2002): 93+. Literature Resource Center. Web. 11 Mar. 2013. 51°31′28.5″N 0°4′48″W  /  51.524583°N 0.08000°W  / 51.524583; -0.08000 Elizabethan theatre Dutch Renaissance and Golden Age The English Renaissance theatre or Elizabethan theatre

3060-631: The business. They justified this by stating that now that the lease was in Cuthbert's name and no longer in James’ name John Brayne had no dealings with the Theatre and therefore neither did Margaret Brayne. This state of affairs forced the Burbage brothers to take drastic action to save their investment. In defiance of the landlord and with the help of their friend and financial backer William Smith, chief carpenter Peter Street and ten or twelve workmen, they dismantled

3150-677: 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

3240-451: The city. This prompted the construction of 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 was constructed in 1576 by James Burbage in partnership with his brother-in-law, one John Brayne , (the owner of

3330-569: 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

3420-539: The company, requests that the actors be appointed not merely the Earl's liveried retainers but also his "household servants"—a distinction that enabled them to come and go in London without restriction. The letter also specifies that the actors would not expect any direct financial support, "any further stipend or benefit," from the Earl; they wanted to enjoy his legal protection while operating as an independent commercial entity,

3510-536: The country. When the Elizabethan Poor Laws were amended by the Vagabonds Act 1572 , the status of travelling players was affected: those who did not possess sponsorship from a nobleman could be classed as vagabonds and subjected to a range of penalties. Conversely, however, those who enjoyed such sponsorship were legally more secure than they had previously been. A surviving letter to Leicester from his actors, dated 3 January 1572 and written by James Burbage for

3600-625: The day: ...But see yonder, One like the unfrequented Theatre Walks in dark silence and vast solitude. Brayne's widow, Margaret Brayne , and former business partner, Robert Myles, filed a lawsuit against the Burbages after Brayne's death in 1586. When Brayne passed the Burbages halted their payments to Margaret for their debt. When they filed lawsuit, Margaret and Robert showed up at The Theatre demanding half of everything inside of it—in disagreement, Richard Burbage physically assaulted Robert Myles, and Robert and Margaret left empty handed. However, this

3690-449: 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

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3780-415: 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

3870-452: 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 the later part of the reign of Charles I , few new plays were being written for

3960-545: 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,

4050-491: 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

4140-408: 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

4230-555: 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

4320-520: 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

4410-491: The jurisdiction of civil authorities, who were often opposed to theatre . This area in the "suburbs of sin" was notorious for licentious behaviour, brothels and gaming houses. A year later, the Curtain Theatre was built nearby, making the area London's first theatrical and entertainment district. "When Burbage and Brayne mortgaged The Theatre, Brayne had just recently resolved another fight with one of his brothers-in-law over

4500-574: The leading actor of the Lord Chamberlain's Men which performed at The Theatre until 1597. Poet, playwright and actor William Shakespeare was also in the employ of the company and some of his early plays had their première at The Theatre. "At Christmas 1594 [Richard] was summoned with two other members of his company, William Kempe and William Shakespeare, to act before the queen at Greenwich Palace... Numerous performances before Queen Elizabeth followed, and Shakespeare doubtless often accompanied Burbage on many subsequent professional visits to one or other of

4590-434: 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. Leicester%27s Men Robert Dudley, 1st Earl of Leicester had kept players as early as 1559; they can be traced through the 1560s and into the 1570s by the records of their performances in various English cities as they toured

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4680-474: 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

4770-475: 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

4860-521: The new policy, this power was vested only in the royal bureaucracy, through the Lord Chamberlain and his Master of the Revels . Once the players had the Master's approval for their plays, they could act them anywhere in England without local censorship. The warrant in effect gave the company, and those that would follow later, the freedom to create English Renaissance drama. Leicester's Men performed at Court over

4950-472: 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

5040-528: 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

5130-745: 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

5220-408: 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

5310-452: 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

5400-404: The playhouse should only be applied to theatrical purposes for another five years. This stipulation was contested by Burbage, and he and his sons began a harassing lawsuit with Allen. But before the dispute had gone very far Burbage died (in the spring of 1597) and the suit was continued by his sons Richard and Cuthbert." The sight of the deserted Theatre prompted these lines from a minor satirist of

5490-500: The property's landlord, Giles Allen. Consequently, in 1597, the Lord Chamberlain's Men were forced to stop playing at The Theatre and moved to the nearby Curtain . The lease had been granted to Richard Burbage and his brother Cuthbert Burbage upon the death of their father. The lease that the late James Burbage had obtained from Allen in 1576 was to last only twenty years, but when that day did come, in 1596, Allen "stipulated that

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5580-513: 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

5670-460: 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, the rhetorical canons of memory ( memoria ) and delivery ( pronuntiatio ), gesture and voice, as well as exercises from

5760-487: The royal palaces." Richard's most noted role is—which holds close to his namesake — his part as Richard in Shakespeare's Richard III . After the Burbages stripped The Theatre of its materials to erect The Globe, many of Shakespeare's plays were performed at the famous theatre in the summer and the Blackfriars house, another of the Burbage's theatres, was used as a winter playhouse. Towards the end of 1596, problems arose with

5850-599: 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

5940-543: 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

6030-498: 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

6120-467: 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

6210-504: The theatre on the night of 28 December 1598 and moved the structure piecemeal to Street's yard near to Bridewell . With the onset of more favourable weather in the following spring, the material was ferried over the Thames to reconstruct it as The Globe . Giles Allen then sued Peter Street in January 1599 for trespassing on the property of the Theatre, stating that Street had no right to dismantle

6300-593: 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

6390-409: 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

6480-408: 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

6570-469: 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

6660-607: 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,

6750-404: 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

6840-494: 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

6930-399: 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

7020-401: 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

7110-441: Was a polygonal wooden building with three galleries surrounding an open yard. From one side of the polygon extended a thrust stage . The Theatre is said to have cost £700 to construct, which is a considerable sum for the age. The open yard in front of the stage was cobbled and provided standing room for those who paid a penny . For another penny, the attendees were allowed into the galleries where they could either stand or, for

7200-424: 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

7290-667: 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

7380-552: Was not the end as Myles attempted to bring down the Burbages in another two lawsuits, which both ended in failure. "The old disputes of the Theatre were overtaken by the new litigation of the Alleyns-the original owners, when the Burbages dismantled the Theatre and rebuilt it as the Globe." At the time of Margaret Brayne's death there were still lawsuits that had not been settled, and in her last will and testament she left all of her prospective winnings to Robert Myles. Though Giles Allen

7470-518: 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

7560-596: Was rifled of its best men deliberately, to tamp down the rivalry between Leicester and the Earl of Oxford as they expressed it through their competing companies of actors. Leicester's Men never fully recovered their former prominence and prestige after 1583. Still, the company persevered: it was on tour in 1584 and '85. In the latter year the Earl of Leicester was appointed commander of the English troops in The Netherlands ; his progress through Utrecht , Leyden and The Hague

7650-591: 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

7740-525: 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,

7830-404: Was the landlord John Hyde legally owned the lease to the Theatre and would return the lease to Richard and Cuthbert Burbage and Margaret Brayne for the sum of £30. Cuthbert then went to Walter Cope, a trusted business man, and had Cope ask Hyde if Cuthbert could outright pay for the lease and own it himself. Cuthbert paid and outright owned the lease now, ultimately squeezing Margaret Brayne out of

7920-468: 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

8010-461: 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 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

8100-663: 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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