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also known as early modern English theatre, or (commonly) as Elizabethan theatre, refers to the theatre of England between 1562 and 1642.
This is the style of the plays of William Shakespeare, Christopher Marlowe and Ben Jonson.
It is considered to be the most brilliant period in the history of English theatre. |
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| During the reign of James the VI and I the theatres enjoyed a period of cultural association with the royal family which has led to subsequent commentators indicating that James was a champion of the theatres and a lover of plays. In his political work Basilikon Doron (1599) which was intended as advice for the correct application of kingship to his son Henry, he even referred to himself as a player-king. [1] While it would be fair to say that James provided patronage to a greater degree than his predecessor, Queen Elizabeth, he was more interested in how the theatre could be used to bolster his own political agenda. |
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| A cultural and intellectual movement of the Renaissance that emphasized secular concerns as a result of the rediscovery and study of the literature, art, and civilization of ancient Greece and Rome. |
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| English playwright, poet, and literary critic of the seventeenth century, whose artistry exerted a lasting impact upon English poetry and stage comedy. He popularised the comedy of humours. He is best known for the satirical plays Every Man in His Humour (1598), Volpone, or The Foxe (1605), The Alchemist (1610), and Bartholomew Fayre: A Comedy (1614), and for his lyric poetry; he is generally regarded as the second most important English dramatist, after William Shakespeare, during the reign of James I.[1] |
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English dramatists Francis Beaumont and John Fletcher, who collaborated in their writing during the reign of James I (he reigned in England 1603-1625).
They became famous as a team early in their association, so much so that their joined names were applied to the total canon of Fletcher, including his solo works and the plays he composed with various other collaborators — Philip Massinger, Nathan Field, and many more. |
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| an English poet, playwright and actor, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist.[2] He is often called England's national poet and the "Bard of Avon".[3][nb 2] His extant works, including some collaborations, consist of about 38 plays,[nb 3] 154 sonnets, two long narrative poems, and a few other verses, the authorship of some of which is uncertain |
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| an English actor who was a major figure of the Elizabethan theatre and founder of Dulwich College and Alleyn's School. |
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| a group of actors that perform and travel together. Throughout the Elizabethan Era, commonly referred to as the Shakespearean |
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| troupes of boy actors in Renaissance England |
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| the holder of a position within the English, and later the British, royal household, heading the "Revels Office" or "Office of the Revels". Originally he was responsible for overseeing royal festivities, known as revels, and he later also became responsible for stage censorship, until this function was transferred to the Lord Chamberlain in 1624. |
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| 1. Yardpit 2. 3 tiered galleries 3. Tiring house. 4. Globe theater 5. open-air theatre 6. Square, round or polygonal in shape. |
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| An enclosed area in an Elizabethan theater where the actors awaited their cue to go on stage, changed their costumes, and stored stage props. The term is an abbreviation of "attiring house" or "attiring room. |
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| a common inn that provided a venue for the presentation of stage plays.[1] |
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| was a trap door for use by performers to enter from the "cellarage" area |
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| 1. Audience was seated in boxes, galleries, benches on floor. No standing groundlings. 2. Illumination by candles changed between acts. 3. Interior, rectanglar in shape. |
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| (an allegorical dramatic performance featuring music and especially dancing), which was also presented only once |
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theaters were constructed of wooden framing, This coincided with a growing interest in scenic elements painted in ...
Scenery, as we know it today, is a product of the Italian Renaissance. To a large extent, it is based on the discovery of the rules of perspective and their application to the world of architecture. The early evolution of the theatrical scenery is the work of a number of artists over a period of approximately two hundred and twenty five years: 1508 to 1638. |
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| rich heavy materials, in voluminous amount, large sleeves, close body garments, large hip-clothing, wide-toed, heelless shoes and covered heads masculine and feminine. excessiveness in all areas of costume began. Different countries took the news styles differently. For instance, the northern European countries were distorting the natural figure by padding sleeves, doublets and stockings. |
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