* Stage Shape and Configuration:
The size of amphitheatre varied up to 100 feet in diameter. The stage shape was octagonal, circular in shape having between 8 and 24 sides. The open air arena, called the ‘pit’ or the ‘yard’, had a raised stage at one end and was surrounded by three tiers of roofed galleries with balconies overlooking the back of the stage. The stage projected halfway into the ‘pit’. The Stage dimensions varied from 20 foot wide 15 foot deep to 45 feet to 30 feet. The height of the raised stage was 3 to 5 feet and supported by large pillars. The floor of the Stage was made of wood. The rear of the stage was a roofed house-like structure, supported by two large columns.
Elizabethan stages were sparser in terms of decoration when compared to the equivalent in later eras, but items such as furniture, including pieces like tables and thrones, were used to embellish a scene. In some cases, more elaborate sets were used; these included grassy banks, gallows frames and caves
The costumes used in Shakespeare’s theater companies were perhaps one of the most effective forms of props employed, allowing actors to reflect changes in character and even gender with relative ease. Many of these costumes captured the historical setting of specific Shakespearean plays; for example, togas and breastplates were worn in performances of “Titus Andronicus.” Make-up, along with female clothing was used to depict women characters, since Elizabethan laws forbade women to act on stage.
There was natural lighting as plays were produced in the afternoon. However there was some artificial lighting mainly intended to provide atmosphere for night scenes.
Musicians were used for music. Music was an extra effect added in the 1600’s. The musicians would also reside in the Lords rooms (best seats in the house).
* Special Effects:
Sometimes stage props served to recreate some special effect. Examples included fireworks, which were set off to replicate lightning in outdoor scenes, and actual pistols — without the bullets — which would be shot whenever military salutes or fighting needed to be shown. Even animals, such as dogs, were brought on stage in Shakespearean plays because creating a fake animal would have been more difficult. Trap doors would enable some special effects e.g. smoke.
* Other Important Conventions:
- Lesson 8 Key Question
To begin Viewing and critiquing King Lear Act III scene ii, Directed by Richard Ouzounian, written by William Shakespeare, I noticed that overall the production is good, but there are some weaknesses that could be better if a little afford applied and similarly, there are strength that gives the production...
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William Shakespeare (1564-1616) was born in Startford-on-Avon, in the country of Warwick. The third child and first son, William was christened on 26th April, 1564 in the parish chruch. His father, John Shakespeare, was a prosperous businessman. William got his education in a good grammer school. His...
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Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove.
Oh no! It is an ever fixed mark
That looks on tempests and is never shaken.
It is the star to every wandering bark,
Whose worth's unknown, although...
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I have answered the following question (my thesis is underlined):
3) It has been theorized that Shakespeare based the character Prospero on himself. Where can you see this? What do Prosper and the play reveal about the theater? How does Prosperos final monologue finally reveal?
In his play The Tempest...
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Although the play's title leads readers to believe its contents to surround Antonio, rather the play surrounds a hated and despised Shylock the Jew. However, as Shakespeare so often does, several scenes are placed almost haphazardly within the conflict and turmoil building amongst the main characters. Often...
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