1. Summer 2016 Peter Paolucci: Shakespeare 35351 THEATRE Public Ritual and Spectacle

2. Summer 2016 Peter Paolucci: Shakespeare 3535 2 from … SCHOLES ROMANCE SATIRE COMEDY TRAGEDY

3. Summer 2016 Peter Paolucci: Shakespeare 3535 3 THE GREEKS  Drama’s roots in ancient religious festivals  Stories about the gods (ex: Dionysius)  Theatre festival: full day event with critical audiences. Thesis (“Thespians”) wins play competition in 534 BCE  Tragedy … from  tragos = “goat”  tragedy =“goat song”

4. Summer 2016 Peter Paolucci: Shakespeare 3535 4 THE GREEKS cont’d  Only 3 speaking actors on stage at once  protagonist, deuteragonist, tritagonist  3 unities: time, place, action  24 hours  1 setting  1 plot: no comic relief or sub-plot  Chorus  reminds us that men do not have complete control  Choryphaeus  chorus leader who delivers lines of spoken verse on behalf of the chorus as a whole

5. Summer 2016 Peter Paolucci: Shakespeare 3535 5 THE GREEKS  Aristotle on tragedy  drama should “imitate nature”  Hamartia (hero’s error of judgement due to ignorance or moral shortcoming) leads to  Peripeteia (reversal of fortune) leads to  Anagnorisis (moment of self recognition) leads to  Catharsis (audience purgation of emotions: “pity and fear”)

6. Summer 2016 Peter Paolucci: Shakespeare 3535 6 THE GREEK STAGE  Theatres (usually) situated on a hill (amphitheatre) outdoors  Skene (“scene”)=  1-storey structure used to store costumes and for entrances/exits  Scenes painted on the side  Orchestra =  Circular space (apprx 85 ‘ diameter) used as main acting space

7. Summer 2016 Peter Paolucci: Shakespeare 3535 7 THE GREEK STAGE

8. Summer 2016 Peter Paolucci: Shakespeare 3535 8 RENAISSANCE  By the end of the 15 th century, mystery and morality plays evolved into secular pieces presented at court  Theatre now state-dominated. Context is the rise of nation states  England, France, Spain emerging as nation states  Plays still “moral”  Religious virtue replaced by themes of loyalty to the government or a stable state  Embryonic realism

9. Summer 2016 Peter Paolucci: Shakespeare 3535 9 ACTING COMPANIES  Acting companies licensed by monarch  Chamberlain’s Men license granted to Robert Dudley, earl of Leicester in 1574  Others included The Admiral’s Men (to which Shakespeare probably belonged as early as December 1594) – worked in The Rose  The King’s Men (1603 under James I) is assigned to the Globe Theatre and Shakespeare belonged to this company too as well as being a shareholder

10. Summer 2016 Peter Paolucci: Shakespeare 3535 10 RENAISSANCE THEATRES “ The Theatre” (from Renaissance Vol.9#1,issue 35)  Started by James Burbage (also an actor)  Leased land in 1576 in a suburb north of London  Outside jurisdiction of city (avoids by-laws and taxes)  Builds London’s first playhouse simply called The Theatre (he obviously needed marketing people)  Used open air model (no roof) derived from Inn-yards  Octagonal design based on design of bear-baiting pits

11. Summer 2016 Peter Paolucci: Shakespeare 3535 11 RENAISSANCE THEATRES “ The Theatre” (from Renaissance Vol.9#1,issue 35)  Used “apron stage” which jutted out halfway into the open area and had wooden and thatched roof  Audience on x3 sides  Immediate success but Ministers railed against it  So popular he opened a second one! (The Curtain)  Enjoyed 10 year monopoly

12. Summer 2016 Peter Paolucci: Shakespeare 3535 12 RENAISSANCE THEATRES “The Rose”  Built 1585, completed 1587 by Philip Henslowe  Was a tradesman (a dyer): when master died he married the widow and presto – instant $$  Invested on London south side in brothels and inns  Built the Rose amidst brothels, taverns and bear- baiting pits  Partnered with John Chomley – a grocer

13. Summer 2016 Peter Paolucci: Shakespeare 3535 13 THE ADMIRAL’S MEN 1.Company founded by Edward Alleyn 2.Was partnered with Burbage at The Theatre for a while (the Lord Strange’s Men) but had a falling out 3.In 1592 he joined Henslowe and the Rose theatre and brought an injection of capital into the theatre so it could expand 4.Repertory included  Marlowe's Doctor Faustus, Jew of Malta and Tamburlaine Kyd's Spanish Tragedy  Shakespeare's Henry VI pt 1 and Titus Andronicus

14. Summer 2016 Peter Paolucci: Shakespeare 3535 14 RENAISSANCE THEATRES  “The Swan”  Opened by Francis Langley in 1595  Just west of the Rose theatre  Used by the Lord Chamberlain’s Men (incl. Shakespeare)  But in 1597 the Swan closes b/c owner of land refused to renew the lease

15. Summer 2016 Peter Paolucci: Shakespeare 3535 15 RENAISSANCE THEATRES  “ The Globe”  Opened 1599, burned down 1613 & immediately rebuilt  Octagonal or circular (more or less)  Born of a business consortium between Burbage (Blackfriar’s Theatre) and the Lord Chamberlain’s men  Southwark location chosen (near pubs and brothels)

16. Summer 2016 Peter Paolucci: Shakespeare 3535 16 RENAISSANCE THEATRES  “ The Globe”  Born of a business consortium between Burbage (Blackfriar’s Theatre) and the Lord Chamberlain’s men  William Shakespeare, John Heminges, Augustine Phillips, Thomas Pope, William Kempe, Burbage, and the sons of Edward Alleyn (Cuthbert & Richard)

17. Summer 2016 Peter Paolucci: Shakespeare 3535 17 THE GLOBE  “ The Globe” (cont’d)  Held 3000 patrons (Rose held 2400)  Contained open “heavens” but added trap door for hell  Painted (decorated) with pics of the planets  “Groundlings” paid a penny for admittance  By 1600, the Lord Admiral’s men (the Rose) unable to compete & the move  May 19, 1603 Chamberlain’s men become the “King’s Men” (under King James I)

18. Summer 2016 Peter Paolucci: Shakespeare 3535 18 ?  Acting companies licensed by monarch  Chamberlain’s Men license granted to Robert Dudley, earl of Leicester in 1574  Others included The Admiral’s Men (to which Shakespeare probably belonged) as early as December 1594  The King’s Men (1603 under James I) is assigned to the Globe Theatre and Shakespeare belonged to this company too as well as being a shareholder

19. Summer 2016 Peter Paolucci: Shakespeare 3535 19 SHAKESPEARE  Burgeoning of public entertainment (spectacle)  Theatre  Public executions  Bear baiting  William Shakespeare (1564-1616)  Other notable playwrights  Thomas Kyd  Christopher Marlowe  Ben Johnson

20. Summer 2016 Peter Paolucci: Shakespeare 3535 20 RENAISSANCE TRAGEDY  (Unnecessary) death of main character  Failed attempts to control conflict compound problems  Society (ostensibly) reintegrated through grief  Challenges the three unities  Some moral purpose intended  Disproportionate suffering/punishment  Character is destiny

21. Summer 2016 Peter Paolucci: Shakespeare 3535 21 RENAISSANCE COMEDY  Starts with a world of order, moves to disintegration through conflict or misunderstanding  Redemption  Forgiveness  Ends either in promise of marriage (never actual marriage) or appropriate punishment for the corrupt

22. Summer 2016 Peter Paolucci: Shakespeare 3535 22 THE RENAISSANCE STAGE  Theatre design (intimacy) allowed actors to make subtle gestures (unlike the Greek amphitheatres)  See Hamlet’s instructions to players  Actors surrounded on 3 sides by audience  Trap doors and upper stories allowed entrances from above/below as well as left/right and back/front

23. Summer 2016 Peter Paolucci: Shakespeare 3535 23 THE RENAISSANCE STAGE

24. Summer 2016 Peter Paolucci: Shakespeare 3535 24 THE GLOBE THEATRE

25. Summer 2016 Peter Paolucci: Shakespeare 3535 25 THE GLOBE THEATRE

26. Summer 2016 Peter Paolucci: Shakespeare 3535 26 THE GLOBE THEATRE

27. Summer 2016 Peter Paolucci: Shakespeare 3535 27 PROSCENIUM STAGE

28. Summer 2016 Peter Paolucci: Shakespeare 3535 28 PROSCENIUM STAGE