SSenior


 * Stagecraft**


 * The Stage**
 * To understand Shakespeare's stagecraft, it is important to understand the architecture of the space in which Shakespeare and his company were worki **** ng. The standard Elizabethan theatre included a very large wooden platform which was used as the stage. It is likely that this platform was not permanent and could be moved if the arena were being used for bull- or bear-baiting (2). The building had no roof and was surrounded by galleries for spectators that provided most of the building's height (2). **
 * Around the platform was a yard for spectators, largely utilized by the "groundlings". The ground in the yard was made of either mortar or ground hazelnut shells mixed with ash (1). **
 * At the back of the platform was a tiring house for the actors, where they could go to change costumes **
 * or wait for an entrance. This part of the theatre, as well as the stage, were covered by a roof (in De Witt's sketch, this is the structure with the doors at the back of the stage). Theatres often had a structure at the back of the auditorium to house the lifting and lowering machinery (2). Additionally, the raised platform would allow for a trapdoor through which the actors could ascend, and the first-level gallery would likely circle the entire building and stretch behind the stage. This would allow for both seating and use as a balcony in plays such as //Romeo and Juliet// (1) (2). **

Because the stage of was so bare, much of the atmosphere of the play had to be conveyed through costumes, props, and a minimal amount of scenery. Things like thrones, rocks, and tombs could be used as set pieces, but elaborate sets with backdrops and moveable pieces were not the convention in Shakespeare's time (1) (2).
 * Costumes, Props, and Scenery**

Props, however, were much more common. Props were the easiest way for an actor to set the scene. Props were so common that Shakespeare even wrote specific props into his plays, such as //Richard II//'s mirror speech.

Finally, costumes were one of the most important features of stagecraft for Shakespearean actors. The Elizabethan audience was accustomed to lavish, magnificent costumes, though historical and national accuracy were almost completely ignored (2). Shakespeare likely had very little control over the actual selection of the costumes apart from the specifics he wrote into his plays, such as Shylock's "Jewish gaberdine" or Hamlet's "inky cloak".

However, costumes in particular created some controversy. In a society where clothing was regulated by law, the ability of one person to become a different social class or even a different gender by putting on different clothing created a stir. Though most of the population could accept this temporary upset in the natural order (they continued attending plays, after all), there was a small but vocal minority that saw theatre as a source of social unrest (3). For as important as these things were, however, to the Elizabethan audience, it was costumes and actors that were important over scenery and settings.

Though much of Shakespearean stagecraft is very similar to modern theatre conventions, one major difference is the all-male cast that made up the company. All-male casts are a commonly accepted convention in Shakespearean theatre, but for modern audiences it may be hard to understand the logistics. The roles that were written for men (such as Macbeth or Hamlet) would be played by the older men in the company- that is, men who were well past puberty. The female roles would go to younger men and boys, who might go on to play male roles as they matured (1). This, of course, meant there was a fair amount of cross-dressing, but, unlike modern perspectives on cross-dressing, there was nothing inherently comical about it. This is due in large part to Shakespeare's beautifully crafted female roles, written such that each character is doubtlessly female. Many of Shakespeare's female characters (such as Juliet and Lady Macbeth) are just as impressive as his male characters; so, the young actors in the company had to be just as impressive to be able to convincingly play female.
 * Actors and Companies**

One Shakespearean convention that has persisted in theatre is that of theatre and acting companies. In Shakespeare's time, acting companies and theatre ownership could work in a couple ways: One person owned the theatre, which he then leased to companies for performances, such as Philip Henslow's Rose Theatre; or members of the company could front some money and each have a share in the theatre, which they would then use whenever and however they please such as the Globe, which Shakespeare's company owned (1).However, there existed the possibility that the company would have to perform at Court, guildhalls, or great halls for patrons, and temporarily abandon their stage (2). Additionally, since actors were generally considered little more than vagabonds, it would benefit a company to gain the protection of a wealthy patron. In the case of Shakespeare's company, they were first the Lord Chamberlain's Men, and, once King James took the throne, they became the King's Men (1).

media type="youtube" key="UJMqsPbGNI0?fs=1" height="346" width="432" align="center"

A scene from John Madden's //Shakespeare in Love// (1998). Though no women would have been permitted to act in a play, the film shows what the interior of an Elizabethan theatre looked like, as well as giving some idea of what Shakespeare's plays may have looked like when performed. Note the all-male cast, the splendor of the costumes, and the bare stage and minimal props, all of which would have been characteristic of Elizabethan theatre.


 * Works Cited**

1. //"Shakespeare's Theatre". Folger Shakespeare Library.// Folger Shakespeare Library. 30 September 2010. Web. 8 October 2010. 2. Styan, J. L. //Shakespeare's Stagecraft.// Cambridge: Cambridge University Press, 1967. Print. 3. Papp, Joseph and Elizabeth Kirkland. //Shakespeare Alive!// New York City: Bantam Books, 1988. Print. 4. De Witt, Johannes. //The Swan.// http://www.princeton.edu/~danson/Lit131/HANDBOOK/Swan.htm