Shakespearean Theatre and Audience

The Globe Theatre

The Globe Theatre was the most famous playhouse of its time, closely associated with William Shakespeare. Built in 1599 by the Lord Chamberlain's Men (Shakespeare's acting company), it was constructed using timber from a previous theatre, "The Theatre," located in Shoreditch. The Globe was situated on the south bank of the River Thames in Southwark, an area known for its entertainment venues, including bear-baiting pits and brothels, which meant it was outside the jurisdiction of the strict Puritan city authorities.

The theatre itself was a magnificent structure, described as a 'wooden O' in Shakespeare's own play, Henry V. It was a large, polygonal, open-air amphitheatre, with a diameter of about 100 feet. It had a capacity of roughly 3,000 spectators. The main structure consisted of a stage that projected into the yard, surrounded on three sides by tiered galleries providing seating for the audience. The roof covered the galleries but left the central yard open to the sky, exposing the groundlings to the elements.

The stage area was raised about five feet from the ground. It featured a discovery space, often referred to as the inner stage, which could be used for scenes requiring a curtained-off area. Above this was the 'heavens' or 'shadow', a canopy providing shelter for the actors and housing machinery for special effects, such as trapdoors and winches for flying characters. At the rear of the stage was the tiring-house, a multi-story building that served as dressing rooms, a storage area for props, and a gallery for musicians or additional spectators.

The Globe was a versatile space. Performances typically began around 2 PM, lasting for about two to three hours, depending on the play. The open-air nature meant that daylight was essential for performances, and the lack of artificial lighting restricted plays to daytime hours. The theatre's design facilitated a dynamic interaction between actors and audience, with the stage's thrust into the yard bringing spectators very close to the action.

Key Features of The Globe:

• Structure: Polygonal, open-air amphitheatre.
• Location: Southwark, London (south bank of the Thames).
• Capacity: Approximately 3,000 spectators.
• Stage: Thrust stage projecting into the yard, with a discovery space and heavens above.
• Tiring-House: Rear building for actor preparation and storage.
• Performance Time: Daytime, typically starting around 2 PM.

Other London Playhouses

While the Globe is the most iconic, several other important theatres existed in Elizabethan and Jacobean London, catering to the burgeoning theatre scene. These theatres varied in design and location, each contributing to the diverse theatrical landscape of the era.

The Rose Theatre: Built in 1587, also on the Bankside, it was one of the earliest purpose-built public playhouses. It was a polygonal structure, similar in design to the Globe, and was a popular venue for plays by many prominent playwrights. It underwent several renovations and was eventually closed in 1605.

The Swan Theatre: Opened in 1595, also on the Bankside. It was known for its impressive capacity and was described as being of similar design to the Rose. The Swan was particularly noted for its elaborate stage machinery and was a significant venue for touring companies as well as resident troupes.

The Curtain Theatre: Located in Shoreditch, north of the Thames, it opened in 1577. It was one of the first permanent theatres built outside the city walls. It was a polygonal theatre and was used by Shakespeare's company before they moved to the Globe.

The Fortune Playhouse: Built in 1600 by Philip Henslowe, a prominent theatre entrepreneur, for his company, the Admiral's Men. It was located in Golden Lane, Cripplegate, and was designed to be larger and more elaborate than the Globe, with a square shape rather than polygonal.

The Red Bull Theatre: Opened in 1605 in St John's Street, Clerkenwell. It was known for its more sensational and spectacular performances, often featuring fencing displays and military themes, appealing to a rowdier audience.

These public playhouses shared common architectural features: they were typically large, polygonal or circular, open-air structures with a stage projecting into a central yard. In contrast, the 'private' playhouses, such as Blackfriars and The Cockpit, were smaller, indoor venues, often roofed and lit by candles, which allowed for evening performances and attracted a wealthier, more select audience.

The Elizabethan and Jacobean Audience

The audience for plays in Shakespeare's time was remarkably diverse, reflecting the social strata of London society. It was not a monolithic group but comprised people from all walks of life, from the nobility to the lowest classes. This broad appeal was a significant factor in the success of theatres like the Globe.

The audience can be broadly categorized into two main groups based on where they stood or sat: the 'groundlings' and the 'gentlemen' or 'nobility'.

The Groundlings: These were the spectators who stood in the yard, the open area directly in front of the stage. They paid the lowest admission price, typically one penny. They were primarily from the working classes, apprentices, servants, and sailors. They stood for the entire duration of the performance, often for three hours or more, in all kinds of weather. They were known for being boisterous, vocal, and interactive, often shouting comments, cheering, or booing, and sometimes throwing food or other objects if they disliked the performance. Their presence brought a lively, if sometimes unruly, energy to the theatre.

The Gallery Seats: Those who could afford more paid higher prices for seats in the tiered galleries surrounding the yard. The cheapest gallery seats were likely comparable to two pennies, while the more expensive ones, closer to the stage or in the boxes, could cost sixpence or more. These seats were occupied by the middle classes, merchants, lawyers, scholars, and wealthier citizens.

The Nobility and Gentry: The wealthiest and most esteemed members of the audience, including aristocrats, courtiers, and lords, often occupied the best seats. They might sit in the galleries closest to the stage, or even have specially designated boxes. They were generally expected to behave more decorously than the groundlings, but they were still part of the shared theatrical experience. They often arrived in their finery, and their presence lent prestige to the occasion.

The audience was not segregated strictly by class in terms of physical location, but rather by the price they paid for admission. This meant that people from different social backgrounds could find themselves sitting or standing in close proximity, creating a unique social melting pot within the theatre. This proximity allowed for a shared emotional response to the plays, bridging social divides, at least for the duration of the performance.

The audience's expectations varied. While the groundlings might have been drawn to spectacle, action, and bawdy humour, the educated gentry and nobility would have appreciated the poetry, complex plots, and intellectual depth of Shakespeare's plays. Playwrights like Shakespeare had to craft works that could appeal to this diverse range of tastes and sensitivities.

The theatre was a significant social institution. It was a place for entertainment, but also for social commentary, news dissemination, and a reflection of contemporary society's values and concerns. The audience's reactions could significantly influence a play's success or failure.

Performance Practices and Staging

Shakespearean theatre was characterized by specific performance practices that differed significantly from modern theatre. The absence of elaborate scenery, the use of natural lighting, and the direct engagement with the audience were key elements.

Scenery: Elizabethan theatres generally had minimal, non-naturalistic scenery. The stage was relatively bare, relying on the audience's imagination, stimulated by the language of the play. Instead of painted backdrops, properties (props) and costumes played a crucial role in establishing the setting and character. A simple throne might indicate a palace, a bed might signify a bedroom, and a sign might denote a specific location. The 'discovery space' at the rear of the stage could be used for revealing characters or significant objects.

Costumes: Costumes were often elaborate and expensive, reflecting the status of the characters. They were not historically accurate to the period of the play but were usually contemporary Elizabethan or Jacobean fashion. This anachronism was not considered problematic by the audience. Wealthy patrons might even lend their own fine garments to the actors. Costumes were vital for conveying character, social rank, and sometimes even mood.

Acting Style: Acting was often declamatory and rhetorical, with a strong emphasis on elocution and vocal projection to be heard by the large audience. Actors would use gestures, facial expressions, and movement to convey emotion and meaning. There was a tradition of playing multiple roles, and all roles, including those of women, were played by young men or boys.

Music and Sound Effects: Music was an integral part of Elizabethan theatre. Songs, instrumental music, and sound effects were used to set the mood, punctuate scenes, and enhance the drama. Trumpets might announce the arrival of royalty, drums could signify battle, and music could underscore moments of romance or sorrow. The 'heavens' above the stage housed machinery for special effects, such as thunder, lightning, or the descent of characters (like angels or gods).

Direct Address: Actors frequently broke the "fourth wall," speaking directly to the audience through soliloquies and asides. Soliloquies allowed characters to reveal their inner thoughts and feelings, while asides offered witty or conspiratorial remarks directed at the spectators. This technique fostered a sense of intimacy and complicity between the performer and the audience.

Daylight Performances: As mentioned, public theatres like the Globe were open-air and relied on natural light. Performances began in the afternoon, usually around 2 PM, and concluded before dusk. This limited the complexity of stage lighting and influenced the pacing and structure of the plays.

The Role of Language: In the absence of elaborate scenery, the language of the play was paramount. Shakespeare's masterful use of poetry, imagery, and rhetoric was essential for painting pictures in the audience's minds, conveying setting, character, and emotion. The audience was expected to be attentive listeners.

The Social and Cultural Impact of Theatre

Theatres in Shakespeare's era were more than just places of entertainment; they were vibrant social hubs and potent cultural forces. They played a significant role in shaping public opinion, reflecting societal changes, and providing a common ground for diverse populations.

A Mirror to Society: Elizabethan and Jacobean plays often engaged with contemporary social issues, political events, and moral dilemmas. Through historical plays, comedies, and tragedies, playwrights explored themes of kingship, justice, love, ambition, and social order. The audience's reactions—laughter, tears, applause, or disapproval—indicated how these themes resonated with the public. Plays could both reinforce and challenge prevailing social norms.

Social Cohesion: The theatre brought together people from vastly different social classes. While standing in the yard or sitting in the galleries, groundlings and gentry shared the same experience, the same emotional journey. This shared experience, though temporary, fostered a sense of community and common identity, transcending the rigid social hierarchies of the time.

Censorship and Control: Despite their popularity, theatres were often viewed with suspicion by authorities, particularly the Puritan-dominated City of London. Plays were subject to censorship by the Master of the Revels, who reviewed scripts to ensure they did not contain seditious or offensive material. Theatres were periodically shut down, especially during times of plague or political unrest. This tension between the freedom of expression on stage and the desire for social control highlights the power attributed to theatre.

Economic Impact: The theatre industry was a significant economic enterprise. It supported actors, playwrights, theatre builders, costume makers, musicians, and various support staff. The success of companies like the Lord Chamberlain's Men (later the King's Men) at the Globe demonstrated the commercial viability of theatrical productions.

Literary Development: The demands of the stage and the unique collaboration between playwrights and actors spurred immense literary innovation. Shakespeare's work, in particular, pushed the boundaries of language, character development, and dramatic structure, leaving an indelible mark on English literature. The need to engage a broad audience encouraged variety in tone and subject matter, leading to plays that were both intellectually stimulating and emotionally powerful.

The enduring legacy of Shakespearean theatre lies not only in its artistic merit but also in its profound understanding of human nature and its ability to connect with audiences across centuries. The vibrant, dynamic, and often chaotic world of the Elizabethan stage, with its diverse audiences and innovative performance practices, laid the foundation for modern theatre.