The Theatre in Shakespeareâs Day
On the face of it, the conditions in the Elizabethan theatre were not such as to encourage great writers. The public playhouse itself was not very different from an ordinary inn-yard; it was open to the weather; among the spectators were often louts, pickpockets and prostitutes; some of the actors played up to the rowdy elements in the audience by inserting their own jokes into the authorsâ lines, while others spoke their words loudly but unfeelingly; the presentation was often rough and noisy, with fireworks to represent storms and battles, and a table and a few chairs to represent a tavern; there were no actresses, so boys took the parts of women, even such subtle and mature ones as Cleopatra and Lady Macbeth; there was rarely any scenery at all in the modern sense. In fact, a quick inspection of the English theatre in the reign of Elizabeth I by a time-traveller from the twentieth century might well produce only one positive reaction: the costumes were often elaborate and beautiful.
Shakespeare himself makes frequent comments in his plays about the limitations of the playhouse and the actors of his time, often apologizing for them. At the beginning of Henry V the Prologue refers to the stage as âthis unworthy scaffoldâ and to the theatre building (the Globe, probably) as âthis wooden Oâ, and emphasizes the urgent need for imagination in making up for all the deficiencies of presentation. In introducing Act IV the Chorus goes so far as to say:
⦠we shall much disgrace
With four or five most vile and ragged foils,
Right ill-disposâd in brawl ridiculous,
The name of Agincourt, (lines 49â52)
In A Midsummer Nightâs Dream (Act V, Scene i) he seems to dismiss actors with the words:
The best in this kind are but shadows.
Yet Elizabethâs theatre, with all its faults, stimulated dramatists to a variety of achievement that has never been equalled and, in Shakespeare, produced one of the greatest writers in history. In spite of all his grumbles he seems to have been fascinated by the challenge that it presented him with. It is necessary to re-examine his theatre carefully in order to understand how he was able to achieve so much with the materials he chose to use. What sort of place was the Elizabethan playhouse in reality? What sort of people were these criticized actors? And what sort of audiences gave them their living?
The Development of the Theatre up to Shakespeareâs Time
For centuries in England noblemen had employed groups of skilled people to entertain them when required. Under Tudor rule, as England became more secure and united, actors such as these were given more freedom, and they often performed in public, while still acknowledging their âoverlordsâ (in the 1570s, for example, when Shakespeare was still a schoolboy at Stratford, one famous company was called âLord Leicesterâs Menâ). London was rapidly becoming larger and more important in the second half of the sixteenth century, and many of the companies of actors took the opportunities offered to establish themselves at inns on the main roads leading to the City (for example, the Boarâs Head in Whitechapel and the Tabard in South-wark) or in the City itself. These groups of actors would come to an agreement with the inn-keeper which would give them the use of the yard for their performances after people had eaten and drunk well in the middle of the day. Before long, some inns were taken over completely by companies of players and thus became the first public theatres. In 1574 the officials of the City of London issued an order which shows clearly that these theatres were both popular and also offensive to some respectable people, because the order complains about âthe inordinate haunting of great multitudes of people, specially youth, to plays interludes and shows; namely occasion of frays and quarrels, evil practices of incontinency in great inns â¦â There is evidence that, on public holidays, the theatres on the banks of the Thames were crowded with noisy apprentices and tradesmen, but it would be wrong to think that audiences were always undiscriminating and loudmouthed. In spite of the disapproval of Puritans and the more staid members of society, by the 1590s, when Shakespeareâs plays were beginning to be performed, audiences consisted of a good cross-section of English society, nobility as well as workers, intellectuals as well as simple people out for a laugh; also (and in this respect English theatres were unique in Europe), it was quite normal for respectable women to attend plays. So Shakespeare had to write plays which would appeal to people of widely different kinds. He had to provide âsomething for everyoneâ but at the same time to take care to unify the material so that it would not seem to fall into separate pieces as they watched it. A speech like that of the drunken porter in