Frank Hussey's Performance Blog: Classical Theatre Research Blog 1

Classical Theatre Research – Original Staging

Through my research I have discovered many fascinating contextual facts concerning William Shakespeare’s classical stage layout, actor’s performances, and actor’s speeches. In this research blog I will share all my research and understanding of William Shakespeare’s impact, socially, culturally, and politically, on classic and modern theatre. As well as looking at the essential impacts to modern theatre, with his hit play ‘Much Ado About Nothing’.

The Globe Theatre Layout

It is a well-known fact that ‘the Globe Theatre’ was the original building which held all of Shakespeare’s plays. But what is the truth behind this particular theatre? Here are a few facts about ‘the Globe Theatre’:

· It was constructed in the year 1599 (nine years after his first play was performed).

· The auditorium could sit 3,000 audience members, both standing in the yard and sitting in the galleries.

· During all summer seasons the yard, of the theatre, was referred to as the ‘stinkards’, for reasons concerning disinterested audience members and a lack of toilet facilities.

· The architectural design of the Globe was the first theatre to take on the identity of an amphitheatre, which was inspired by the architectural design of the Coliseum in Rome.

· The main gallery (referred to in modern theatres as ‘the box’) was places above the actual stage and was occasionally seated by members of the Royal Household. The reason why it was placed above the stage was so all audience members could be reminded of their higher authority and power in comparison to theirs.

Here are two images showing the structure and architectural design of ‘the Globe Theatre’:

But what significance did ‘the Globe’ have within the theatre inductries and Shakespeare’s productions, in particular ‘Much Ado About Nothing’?

How did ‘the Globe’ help bring Shakespeare’s productions to life?
The Stage	Constructed similarly to its inspiration, the Roman Collicium, the layout has a complete three hundred and sixty degree view of its audience. The stage itself positioned within the yard, amongst the audience, and hightened to inflect more power and projection within the plays and performances. This kind of layout supported Shakespeare’s plays, especially ‘Much Ado About Nothing’, as it ensured close connections with the audience and more energy on stage was shared with the audience. A key moment in ‘Much Ado’ is during Act II, Scene III, where Benedick is tricked into thinking Beatrice loves him: “This can be no trick. The conference was sadly borne.”; “Ha! ‘Against my will I am sent to bid you come to dinner’ – there’s a double meaning in that.” – Benedick, Act II, Scene III. For its time this kind of monologue was informative, fun, and intriguing. Therefore a stage layout such as this would have been perfect to maintain the likability of the character, and watchability of the play.
The Auditorium	The Yard	Back in the Elizabethan era, it costed no more than a 1 penny, to stand in the yard and watch one of Shakespeare’s plays. Often referred to as ‘the stinkyard’, it was mostly accomidated by commoners, of the time. But this was the audience Shakespeare found the most essential to entertain. It was often this audience group that would loose interest and be distracted by various other attraction within the yard, such as drinking, women, and going to the toilet. Therefore plays that had connections with the audience ensured succession.
	The Galleries	The galleries had various levels and positions around the stage. There were (are) three levels, and fourteen sections around the stage. Sitting in a gallery costed 3 penny’s back in the Elizabethan era, and were mostly accomidated by rihcer audience members whom wished to have a better view of the stage, and they wouldn’t have to share with any commoners. You may notice in this image here there are two balconys visible. The balcony at the very top of the building was were the cannon sat. But the balcony under the ceiling, and above the stage, was were any royal family members sat. The reason for them sitting here was so they were in full view for the commoners to look upon.
	The Gentlemens Rooms	The gentlemens rooms were positioned to the far left and right sides of the stage. These were referred to as the “VIP” galleries. Again costing 3 pennys, these galleries had a great view of the stage. They could fit up to ten people. Plus all audience members sitting in the galleries could eat and drink wine during the plays. For more information about the gentlemens rooms: http://www.shakespearesglobe.com/your-visit/hospitality-and-venue-hire/gentlemens-rooms
The Play’s Atmospheres	The Pillars	One of the buildings main features, the pillars, took up a fair few space on stage for the performers. But they were often used to good effect. A key example is in ‘Much Ado About Nothing’ in Act II, Scene III, and Act III, Scene I. In these scenes both Benedick and Beatrice are tricked into falling in love, by their friends. As their friends talk of how they love each other, the both of them listen in on their conversations. While in the scripts text it depicts them hiding behind trees, the pillars come as a good representation of trees for them to hide behind.
	The Ceiling	Painted to symboilze the heavens, the ceiling was essential for all fictional characters and metaphors. A key example of fictional characters in Shakespeare’s text would be Oberon and Titania, the King and Queen of fairies from ‘A Midsummer Night’s Dream’. Both characters, and their followers, would’ve have had entrance queues through the ceiling to represent their good will and their magical being. A metaphor example, would be the man of the church coming donw from the heavens to marry the leads in ‘As You Like It’. This metaphor reflects the good will of the characters and bring about the happy ending of the play. Both are used to great effect, plus the artistic design behind the ceiling makes for an exceptional theatre element for ‘the Globe Theatre’.
	Trap Doors	While the ceiling was designed and used to symbolise the heavens, the trap door, located in centre stage, was used to reflect the hells. Used prominetly in ‘MacBeth’ when the three witches had their entrance calls. Plus it was often used to send characters to their final resting place, for example Richard III’s defeat in ‘Richard III’ and the fall of Romeo and Juliet in ‘Romeo and Juliet’, and many more.
	Lighting	Famously ‘the Globe’ is an open air, ampitheatre, therefore lighting, back in the Elizabethan era had a heavy reliance of natural sunlight. Many times this came to great effect, and sudden changes in atmosphere, like entering the woods, was mastered by scenery changes and performances. While today, technicians have incerted extra lighting designs to support environment changes. The classical lighting effects were neutral but enhanced via performances to intrigue the audience a step further.

What was ‘the Globe Theatre’s’ impact within the Elizabethan era?
Social Impact	It was in the late 1500s London was growing in population, therefore day-to-day entertainments were essential to keep a positive attitude among the streets. Not only that but ticket sales were fair for all audience members; it cost 1 penny to stand in the auditorium, 3 penny’s to sit in the galleries, and prices might have increased slightly when royalties came knocking. With just over 2,000 words in each of his plays, audiences were stunned and memorised by Shakespeare’s unique writing, storytelling and language. Plus Shakespeare offered a range of different plays, all within the three key genres; tragedy, comedy and historical, so there was something for everyone.
Political Impact	Politically speaking a major impact that came upon Shakespeare and ‘the Globe’ was the politics censorship. Given to any upper class household, at the time, attended his plays, he had to ensure no offernce was given. One of his play in particular, ‘Richard III’, had the title character being portrayed as evil and unlikable, to imply a positive response to Elizabeth I’s rain as Queen. This can also be seen in ‘Much Ado About Nothing’ as Shakespeare mostly portrayed powerful individuals, like Leonato, and royalists, like Don Pedro, as more upbeat and fun, like the common folk, rather than arrogant or unlikable. But in truth Shakespeare wanted his play to be for the local crowd and entertain them, and he succeeded.
Economical Impact	Money wise ‘the Globe’ for its time was indeed a financial success. Shakespeare’s plays were popular amongst the commoners. Seats and places in the yard sold well. But there was indeed a rival for ‘the Globe’. Playhouses, such as ‘the Boar’s Head Inn’, was a tavern crossed with a theatre. Playhouses such as this gained a fair amount of money, due to their, little to no restrictions of, drinkings and fun, these could have been seen as more popular. While ‘the Globe’ was, somewhat, more stricked with their rules and restrictions, their work was more mature with their productions and success. This allowed Shakespeare to produce all thirty-seven of his plays. For more info on ‘the Globe’s’ economic success: http://nosweatshakespeare.com/resources/shakespeares-theatres/globe-theatre/
Cultural/Future Impact	Over 600 years prior to the release of Shakespeare’s first play, both he, and his written work, are still remembered, talked about, and performed today. Culturally speaking what has Shakespeare given us? He has given us unique plays and storylines, that many playwrights aspire to. A mesmorable language basis that has increased the form of storytelling; with quotable lines, new langauage performance techniques, such as Iambic pentameter, poetic, alliteration and single syllable stuctures. Plus he has created characters and physical performance traits that actors today learn and master. While ‘the Globe Theatre’ itself famously was burnt down in 1613, it was resonstructed to near imitate the original, and still Shakespearean play are performed there. Shakespeare’s plays live a new life and are being performed and interpreted in different fashion, while upholding some of the original techniques/traits (like naturel lighting, trap doors, old costumes, etc.) and are still watchable for future generations.