Task 1: Exploring Techniques: Shakespearean Theatre / Elizabethan Theatre

 Elizabethan Theatre - Shakespeare

What is Elizabethan Theatre?

Elizabethan Theatre is simply what theatre was like between the years of 1558 and 1642. A 1596 sketch of a rehearsal in progress on the thrust stage of The Swan, a typical circular Elizabethan open-roof playhouse.

Soliloquy

Hamlet's "To be or not to be..." is literature's most famous soliloquy. This popular Elizabethan convention is a literary or dramatic technique in which a single character talks aloud inner thoughts to him or himself, but not within earshot of another character. Typically, a soliloquy is lengthy with a dramatic tone.

Aside

The aside existed in Shakespeare's time, but happily continued into the melodramas of the 19th century many years later. An aside is a conversation that usually involves one character addressing the audience "on the side", offering them valuable information in relation to the plot or characters that only the audience is privy to. The audience now feels empowered, knowing more about the events on stage than most of the characters do.

Boys Performing Female Roles

Acting Elizabeth's England was frowned upon by many in society as a profession unsuitable for women, as it was rough and rowdy instead of genteel. As a result, women were not legally permitted to act on the English stage until King Charles II was crowned in the year 1660 (even though women were already acting in various European countries in Commedia Dell'Arte plays for some years). Shakespeare and his contemporaries therefore had no choice but to cast young boys in the roles of women, while the men played all the male roles on stage.

Masque

Existing before Elizabethan England and also outliving it, the masque was normally performed indoors at the King or Queen's court. Spoken in verse, a masque involved beautiful costumes and an intellectual element appropriate for the mostly educated upper class. Masques were allegorical stories about an event or person involving singing, acting and dancing. Characters wore elaborate masks to hide their faces. 

Eavesdropping

Eavesdropping was a dramatic technique that sat nearly between a soliloquy and an aside. Certain characters would strategically overhear others on stage, informing both themselves and the audience of the details, while the characters being overheard had no idea what was happening. This convention opened up opportunities for the playwright in the evolving plot.

Presentational Acting Style

It is generally agreed by scholars Elizabethan acting was largely presentational in style. Plays were more overtly a "performance" with clues the actors were aware of the presence of an audience instead of completely ignoring them as part of their art. Movements and gestures were more stylized and dramatic than one might ordinarily expect in a modern naturalistic or realistic drama, speech patterns were heightened for dramatic effect, and the use of conventions such as the aside, prologue, epilogue and word puns directly connected characters to the audience watching. The aside, the prologue, the soliloquy and the epilogue were all variations on a characters' direct address to the audience when staged.

Dialogue

Elizabethan plays commonly consisted of dialogue that was poetic, dramatic and heightened beyond that of the vernacular of the day. While often the lower class characters' speech was somewhat colloquial (prose), upper class characters spoke stylized, rhythmic speech patterns (verse). Shakespeare took great care in composing dialogue that was sometimes blank (unrhymed), but at other times rhyming (couplets) and often using five stressed syllables in a line of dialogue (iambic pentameter).

Play Within A Play

This Elizabethan convention was a playwriting technique used by Shakespeare and others that involved the staging of a play inside the play itself. It was not a flimsy convention, but rather one that was used judiciously and with purpose. One of the most famous examples of this convention occurs in Hamlet, when the title character is convinced his uncle Claudius murdered his father for the throne . So Hamlet organizes an out-of-town troupe of performers to attend one evening and perform a play before King Claudius that involves the same plot line as the events in the larger play (murder of a King), but in a different setting... all to let Claudius know Hamlet is on to him!

Stagecraft

In terms of stagecraft, Elizabethan dramas used elaborate costumes, yet quite the opposite for scenery. Acting spaces were largely empty (bare stage) with isolated set pieces representing many of the same and minimal use of props (a single tree equaled a forest, a throne for a King's palace). This explains the use of rich dialogue full of imagery, as there was no set on stage to designate the scene's location. However, Elizabethan costumes were often rich and colorful, with a character's status in society being denoted by their costume, alone. There were no stage lights of any kind, with plays strictly performed during daylight hours. A simple balcony at the rear of the stage could be used for scenes involving fantastical beings, Gods of Heaven, while a trap door in the stage floor could also be used to drop characters into Hell or raise characters up from beneath. Entrances and exits were at two doors at the rear (tiring house) and not the side wings, as is the case in modern theatre. An Elizabethan actor existing side stage may well have landed in the groundings after falling off the edge of the (three-sided) thrust stage that jutted out into the audience!