What time of day did performances take place

what time of day did performances take place

Performances took place when the sun was in an ideal position,generally about three o'clock in the afternoon. Usually when you ask when a play takes place you are asking forthe time setting of the. What time of day did performances take place? How was the public notified about performances? Who played the female roles and why? What type of scenery and props were used? What were the costumes like? What other skills did actors need besides acting ability? What was the cost of standing room at the Globe?.

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I have a scavenger hunt that I have to do for English class. I have many answers already, but I need these:. Briefly describe the difference between a comedy, a history, and a tragedy in the Elizabethan Era. As you all know, whoever answers the quickest and best will receive 10 points. No false info please. Shakespeare was born on St George's Day, April 23, He died on St George's Day, April 23, St George was the Patron Saint of England. Not only was St.

George the patron saint of England, he was especially important in Stratford on Avon. On the wall of Stratford's Trinity Church, where Shakespeare was baptized, there had once been a mural of St. Oc slaying the Dragon. Before Shakespeare, Stratford had produced only two very famous men. One, of them, John de Stratford, was Archbishop of Canterbury from to George had been painted over in Stratford's Trinity Church, many Englishmen still track what i eat online their sons George.

But John Shakespeare's son, born on St. George's Day, was named William. Why William? The rest is accepted historical fact. The Globe was on the south bank of the Thames How to say gobble in spanish, "flanked with a ditch and forced out of a marsh.

It had been reconstructed from timber of the earlier Theater which the acting company had torn down in the middle of the night because of a dispute with the landlord over the renewal of the lease. Pdrformances the fire, the show was moved to a new theater in the former Blackfriars Monastery, in the very chambers perfornances Henry VIII had mandated his divorce from his first wife.

Of those, about were words that were "new to the English language" meaning that Hamlet has the first known appearance of the wordincluding such now common words as "defeated", "reword", "survivor", and "unpolluted". Hamlet was loosely based on the 13th-century Latin "Vita Amlethi", poace Saxo Grammaticus, which was based on earlier legends, and which whay been translated into French by Francois de Belleforest. Trending News. Multimillionaire's son admits to fatal Lamborghini crash.

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Bunny steals the show at Giants game. Perofrmances students: Sever ties with Columbus police. Black woman protecting another in standoff goes viral. Inside 'very specific' process behind McDonald's fries. I have many answers already, but I need these: 8. What was the title of his first play? When did Shakespeare die? Where was the Globe located?

Briefly describe how the audience was divided and arranged for performances. The Globe Who performed here? What time of day did performances take place? Who played the female roles and why?

What were the costumes like? Who were the King's Men or Chamberlain's Men? Who was Sam Wanamaker and why is he important to the Globe? Approximately how many people lived in London its city proper and suburbs? What was preformances black plague? How many people did it kill? What effect did it have on the public theater? How many lines is it? Perforjances did Shakespeare get his inspiration for Hamlet? What is the setting of Timme What role is Shakespeare said to have played in Hamlet? What is one of the most famous lines in Hamlet?

What color flag would be flying over the Globe to announce Hamlet? Who first played the role of Hamlet? Answer Save. Ray Eston Smith Jr Lv 6. Favorite Answer. I don't usually yake this type of question, but this looks like fun.

The first husband of Hamlet's mother died from a poisoned ear. The first husband of James' mother died from an infected ear rumored to be poisoned. Hamlet's father was murdered in his orchard. James VI's father was murdered in his orchard. Hamlet's mother married his father's murderer. James' mother married his father's murderer. Hamlet's father's ghost cried for revenge.

A painting of James' father in his childhood home cried for revenge. Hamlet's how to make yarn out of fabric, the King of Denmark, died from drinking poison. James' father-in-law, the King of Denmark, died from drink alcoholism. And much more. Yahoo won't give me any percormances space. Shakespeare Scavenger Hunt. Still have questions? Get your answers by asking now.

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What time of day did performances take place? How was the public notified about performances? Who played the female roles and why? What type of scenery and props were used? What were the costumes like? What other skills did actors need besides acting ability? What was the cost of standing room at the Globe? Who was Richard Burbage? Jan 29,  · What time of day did performances take place? Who played the female roles and why? What were the costumes like? Who were the King's Men or Chamberlain's Men? Who was Sam Wanamaker and why is he important to the Globe? Briefly describe the difference between a comedy, a history, and a tragedy in the Elizabethan Era. Apparently they are well satisfied with their stage; for it is not until nearly fifty years after Shakespeare's death that movable scenery is used in an English theatre. It is now three o'clock and time for the performance to begin. Among the motley crowd of men and boys in the yard there is no longer room for another box or stool.

Ed Samuel Thurber. Let us now pay a visit to the Globe, to us the most interesting of all the theatres, for it is here that Shakespeare's company acts, and here many of his plays are first seen on the stage. We cross the Thames by London Bridge with its lines of crowded booths and shops and throngs of bustling tradesmen; or if it is fine weather we take a small boat and are rowed over the river to the southern shores.

Here on the Bankside, in the part of London now called Southwark, beyond the end of the bridge, and in the open fields near the Bear Garden, stands a roundish, three-story wooden building, so high for its size that it looks more like a clumsy, squatty tower than a theatre. As we draw nearer we see that it is not exactly round after all, but is somewhat hexagonal in shape. The walls seem to slant a little inward, giving it the appearance of a huge thimble, or cocked hat, with six flattened sides instead of a circular surface.

There are but few small windows and two low shabby entrances. The whole structure is so dingy and unattractive that we stand before it in wonder. Our amazement on stepping inside is even greater. The first thing that astonishes us is the blue sky over our heads. The building has no roof except a narrow strip around the edge and a covering at the rear over the back part of the stage. The front of the stage and the whole center of the theatre is open to the air.

Now we see how the interior is lighted, though with the sunshine must often come rain and sleet and London fog. Looking up and out at the clouds floating by, we notice that a flag is flying from a short pole on the roof over the stage. This is most important, for it is announcing to the city across the river that this afternoon there is to be a play.

It is bill-board, newspaper notice, and advertisement in one: and we may imagine the eagerness with which it is looked for among the theatre-loving populace of these later Elizabethan years. When the performance begins the flag will be lowered to proclaim to all that "the play is on.

Before us on the ground level is a large open space, which corresponds to the orchestra circle on the floor of a modern play-house. But here there is only the flat bare earth, trodden down hard, with rushes and in the straw scattered over it. There is not a sign of a seat! This is the "yard," or, as it is sometimes called, "the pit," where, by paying a penny or two, London apprentices, sailors, laborers, and the mixed crowd from the streets may stand jostling together.

Some of the more enterprising ones may possibly sit on boxes and stools which they bring into the building with them. Among these "groundlings" there will surely be bustling confusion, noisy wrangling, and plenty of danger from pickpockets; so we look about us to find a more comfortable place from which to watch the performance. On three sides of us, and extending well around the stage, are three tiers of narrow balconies.

In some places these are divided into compartments, or boxes. The prices here are higher, varying from a few pennies to half a crown, according to the location. By putting our money into a box held out to us, -- there are no tickets, -- we are allowed to climb the crooked wooden stairs to one of these compartments. Here we find rough benches and chairs, and above all a little seclusion from the throng of men and boys below.

Along the edge of the stage we observe that there are stools, but these places, elevated and facing the audience, seem rather conspicuous, and besides the prices are high. They will be taken by the young gallants and men of fashion of London, in brave and brilliant clothes, with light swords at their belts, wide ruffled collars about their necks, and gay plunies in their hats.

It will be amusing to see them show off their fine apparel, and display their wit at the expense of the groundlings in the pit, and even of the actors themselves. We are safer, however, and much more comfortable here in the balcony among the more sober, quiet gentlemen of London, who with mechanics, tradesmen, nobles, and shop-keepers have come to see the play. The moment we entered the theatre we were impressed by the size of the stage.

Looking down upon it from the balcony, it seems even larger and very near us. If it is like the stage of the Fortune it is square Here in the Globe it is probably narrower at the front than at the back, tapering from the rear wall almost to a point.

Whatever its shape, it is only a roughly-built, high platform, open on three sides, and extending halfway into the "yard. At each side of the rear we can see a door that leads to the "tiring-rooms" where the actors dress, and from which they make their entrances. These are the "green-rooms" and wings of our theatre today. Between the doors is a curtain that now before the play begins is drawn together. Later when it is pulled aside, -- not upward as curtains usually are now, -- we shall see a shallow recess or alcove which serves as a secondary, or inner stage.

Over this extends a narrow balcony covered by a roof which is supported at the front corners by two columns that stand well out from the wall. Still higher up, over the inner stage, is a sort of tower, sometimes called the "hut," and from a pole on this the flag is flying which summons the London populace from across the Thames.

Rushes are strewn over the floor; there are no drops or wings or walls of painted scenery. In its simplicity and bareness it reminds us of the rude stage of the strolling players. Indeed, the whole interior of the building seems to be but an adaptation of the tavern-yard and village-green. How, we wonder, can a play like "Julius Caesar" or "The Merchant of Venice" be staged on such a crude affair as this!

What are the various parts of it for? Practically all acting is done, we shall see see, on the front of the platform well out among the crowd in the pit, with the audience on three sides of the performers. All out-of-door scenes will be acted here, from a conversation in the streets of Venice or a dialogue in a garden, to a battle, a procession, or a banquet in the Forest of Arden.

Here, too, with but the slightest alteration, or even with no change at all, interior scenes will be presented. With the "groundlings" crowded close up to its edges, and with young gallants sitting on its sides, this outer stage comes close to the people. On it will be all the main action of the drama: the various arrangements at the rear are for supplementary purposes and certain important effects.

The inner stage, or alcove beyond the curtain, is used in many ways. It may serve for any room somewhat removed from the scene of action, such as a passage-way or a study. It often is made to represent a cave, a shop, or a prison. Here Othello, in a frenzy of jealous passion, strangles Desdemona as she lies in bed; here probably the ghost of Caesar appears to Brutus in his tent on the plains of Philippi; here stand the three fateful caskets in the mansion at Belmont, as we see by Portia's words, "Go, draw aside the curtains and discover The several caskets to this noble Prince.

But the most important use is to give the effect of a change of scene. By drawing apart and closing the curtain, with a few simple changes of properties in this inner compartment, a different background is possible.

By such a slight variation of setting at the rear, the platform in the pit is transformed, by the quick imagination of the spectators, from a field or a street to a castle hall or a wood.

Thus, the whole stage becomes the Forest of Arden by the use of a little greenery in the distance. Similarly, a few trees and shrubs at the rear of the inner stage, when the curtain is thrown aside, will change the setting from the court-room in the fourth act of "The Merchant of Venice," to the scene in the garden at Belmont which immediately follows. The balcony over the inner stage serves an important purpose, too.

With the windows, which are often just over the doors leading to the tiring-rooms, it gives the effect of an upper story of a house, of walls in a castle, a tower, or any elevated over the position.

This is the place, of course, where Juliet comes to greet Romeo who is in the garden below. And tell me what thou notest about the field," the soldier undoubtedly climbs to the balcony, for a moment later, looking abroad over the field of battle, he reports to Cassius what he sees from his elevation. Here Jessica appears when Lorenzo calls under Shylock's windows, "Ho! Besides these simple devices, if we look closely enough we shall see a trap-door, or perhaps two, in the platform.

These are for the entrance of apparitions and demons. They correspond, in a way, to the balcony by giving the effect of a place lower than the stage level. Thus in the first scene of "The Tempest," which takes place in a storm at sea, the notion of a ship may be suggested to the audience by sailors entering from the trap-door, as they might come up a hatchway to a deck.

If it is a play with gods and goddesses and spirits, we may be startled to see them appear and disappear through the air. Evidently there is machinery of some sort in the hut over the balcony which can be used for lowering and raising deities and creatures that live above the earth. On each side of the stage is a flight of steps leading to the balcony. These are often covered Here sit councils, senates, and princes with their courts. Macbeth uses them to give the impression of ascending to an upper chamber when he goes to kill the king, and down them he rushes to his wife after he has committed the fearful murder.

What astonishes us most, however, is the absence of scenery. To be sure, some slight attempt has been made to create scenic illusion. There are, perhaps, a few trees and boulders, a table, a chair or two, and pasteboard dishes of food. But there is little more. In the only drawing of the interior of an Elizabethan theatre that has been preserved, -- a sketch of the Swan made in , -- the stage has absolutely no furniture except one plain bench on which one of the actors is sitting. Here before us in the Globe the walls may be covered with loose tapestries, black if the play is to be a tragedy, blue if a comedy; but it is quite possible that they are entirely bare.

A placard on one of the pillars announces that the stage is now a street in Venice, now a courtroom, now the hall of a stately mansion. It may be that the Prologue, or even the actors themselves, will tell us at the opening of an act just where the scene is laid and what we are to imagine the platform to represent. In "Henry V," for instance, the Prologue at the beginning not only explains the setting of the play, but asks forgiveness of the audience for attempting to put on the stage armies and battles and the "vasty fields of France.

Can this cockpit hold The vasty fields of France? O, pardon! Suppose within the girdle of these walls Are now confined two mighty monarchies, Whose high-upreared and abutting fronts The perilous, narrow ocean parts asunder. Piece out our imperfections with your thoughts; Into a thousand parts divide one man, And make imaginary puissance. Think, when we talk of horses, that you see them Printing their proud hoofs i' the receiving earth, For 'tis your thoughts that now must deck our kings, Carry them here and there, jumping o'er times.

Turning the accomplishment of many years Into an hour-glass. In the first sentence which the banished Duke speaks, he says, "Are not these woods more free from peril than the envious court?

By means of them, without the illusion of scenery, the bare wooden stage will become a ship, a garden, a palace, a London tavern. Whole armies will enter and retire by a single door. Battles will rage, royal processions pass in and out, graves will be dug, lovers will woo, -- and all with hardly an important alteration of the setting.

Lack of scenery does not limit the type of scenes that can be presented. On the contrary, it gives almost unlimited opportunities to the dramatist, for the spectators, in the force and freshness of their imagination, are children who willingly "play" that the stage is anything the author suggests. Their youthful enthusiasm, their simple tastes, above all their lack of knowledge of anything different, give them the enviable power of imagining the grandest, most beautiful, and most varied scenes on the same bare, unadorned boards.

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  1. Kim Cat happens to me all the time so i just make sure my phone is as far away from me while drawing

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