Unit III: Renaissance England

1567, built by John Brayne. London's first purpose-built theater. Marks explosion of theatrical and dramatic activity in London.

1576, built by James Burbage.

Districts liberated from direct political control, outside the jurisdiction of the city council. Brothels, sports areas, theaters.

Prohibited itinerant players and entertainers from wandering throughout the realm, but its ultimate effect was to establish permanent theatrical companies under the protection of noble patrons. Ordered that "all Fencers, Bearwards, Common Players in Interludes, and Minstrels, not belonging ot any Baron fo this Real, or towards any other honorbale Personage of greater Degree... [who] wander abroad and have not License of two Justices of the Peace at the least...shall be taken adjudge and deemed Rogues, Vagabonds and Sturdy Beggars." Players could be arrested and fined unless they had a noble patron.

Master of Revels in Elizabethan court. Approved all performance. Censored plays.

Theaters organized like this in early modern England. 10-12 shareholders who invested 50-100 pounds in these companies.

Investors in the joint stock companies. Made a percent of the profit, only way to become wealthy in the theater. Owners of the corporation, therefore responsible for it when it crossed the line into sedition (very easy).

Martin Luther, John Calvin, Henry VIII = Cycle drama goes bye-bye

"New philosophy calls all into doubt" about intellectual revolution, science during Renaissance

Theater purchased by Richard Burbage in 1596. Indoor, caters to the aristocracy.

Red Lion, 1567; The Theatre 1576; The Curtain 1577; The Rose 1587; The Swan 1595; Blackfriars 1596; The Globe 1599, 1613

Purchased by James Burbage in 1596. Indoor aristocratic theater. Best known theater in the Liberties. Used intermittently throughout 1590's by boys' companies. Acquired by the King's Men and used by them after 1608.

1594, headed by James Burbage

1603 Joint stock company inclding Shakespeare, Richard Burbage, John Heminges and Henry Condell, Sly, etc.

held 3,000 people. Large, open, outdoor buildings

Held 700. Smaller, indoor, more elite. Prestige declined in 1620's and 1630's.

Trapdoor in stage used to raise and lower actors.

Starts like a tragic, ends like a comedy.

Plays written in verse, usually on mythological subjects, that involved dancing, fanciful costumes, music and special scene machinery and effects. Actors shared the stage with members of the court, who performed in the elaborate dances that began, punctuated, and ended the masques.

Designed theater space where masques were performed, banqueting hall of Whitehall Place. Visited Italy, came into contact with Andrea Palladio, modeled Palladio's understanding of theatrical design. Developed wings-and-backdrop design.

Basic model for changeable scenery throughout the eighteenth century, designed by Inigo Jones. Nested flats, rapid scene changes.

Developed idea of perspective in Masque theater with wings-and-backdrop design. Influenced by Andrea Palladio

Built Teatro Olympico, 1518-1580. Semi-circular auditorium with windows in back that get smaller in a perspectival way.

Palladio's assistant, finished Teatro Olympico

Architectured to assert political ideology. Spectators and performers engaged in hierarchical sense of illusion in which the King's centrality and omiscience was constantly displayed and experienced. Masques, King James

Morality plays on Christian themes in Spain. Produced 14th to 18th centuries, ended in 1760's. Sacred drama that exists alongside secular drama . Written by all major writers in Spain. Abstract allegories with a short introduction called a Loa and a Boile, a dance conclusion. Performed on wagons at stations throughout the cities. Prizes given for most elegantly written autos. Divine Narcissus.