Thesis: The Globe Theatre influenced modern theatre through its architecture, costumes, and design of stage.
Quote #1: "...were large wooden structures that were roughly circular. The galleries along the sides were covered, but most of the structure, including the large raised stage which projected about halfway into the theater, was unroofed"(WIilliam).
Commentary: This quote shows how the globe's architecture was by helping its readers imagine to see what it looked like. It also tells us this theatre was put on through rain or shine not having a roof.
Quote #2: "The Globe was round or polygonal on the outside and probably round on the inside. The theater may have held as many as 3,000 spectators"(Seidel).
Commentary: This quote explains how the shape of the theatre was thought out to make the best for the audience. Since their was so many people, it being round allows the audience watching to see the actors perform and hear from anywhere inside.
Quote #3: "The Globe was 20-sided and nearly cylindrical, with a diameter of around 105 feet. A large rectangular stage in the center of its amphitheater measured 43 by 23 feet. Three overhanging tiered galleries seated the audience. The top gallery had a thatched roof, but the rest of the theater was open to the elements. The least expensive area in the theater surrounded the stage on three sides and was for standing room only. Here was where the "groundlings," as they were called, watched the plays"(Hager).
Commentary: This quote is describing the whole globe theatre to picture in the readers mind. It was a big theatre with multiple sections for people of different class.
Quote #4: "Richard Burbage and the Lord Chamberlain’s Men dismantled The Theatre and moved it across the River Thames to a new site in Southwark. There they used the old timbers to erect a new theater called the Globe Theatre"(Lander).
Commentary: Before there were old timbers, they were part of an old globe theatre. It was built on leased land so it had to be torned down, this is the new version that was built across the river.
Quote #5: "Their theatre had hardly any scenery: it was the costumes that made it spectacular. Some theatres paid three times as much for a single rich cloak as for a new play. This is not just antiquarian nit-picking: clothes defined the character's rank, too, and in A Winter's Tale you do need to see the difference between courtly sophistication and rustic innocence"(John).
Commentary: This quote explains how costumes can simply make the play These actors made them so well, there was not even a need for very much backround. So much thought was put into the costumes, it was easy to tell who is in what rank or which member of a familiy they are.
Quote #6: "The stage was "set" by the language... But costumes were often elaborate, and the stage might have been hung with colorful banners and trappings"(Anderson 779).
Commentary: Costumes set the tone and the feeling of the whole play with help of banners and trappings.
Quote #7: "The absence of scenery did not result in dull or drab productions. Acting companies spent much money on colorful costumes, largely to produce visual splendor. Flashing swords and swirling banners also added color and excitement. Sound effects had an important part in Elizabethan drama. Trumpet blasts and drum rolls were common. Sometimes unusual sounds were created..."(Lander).
Commentary: This quote says instead money and time being spent on backgrounds and views, it was spent on colorful and elaborate costumes. Good scripts with costumes and sounds made the play entertaining without needing any background.
Design of Stage:
Quote #8: "Standing in the yard of a Shakespearean playhouse puts an audience member below what architects call the eye line of the actors. The eye line is the space between a horizontal line drawn about five feet, six inches above the stage floor--a convenient average eye height for an actor--and a point five degrees above and below that line (Mackintosh 135). With its five foot high stage the Globe eye line starts at ten feet, six inches above the level of the yard and spreads out by five degrees as it moves towards the audience. Anyone below that line has what in cinematic terms would be known as a low angle view of the stage. This puts the actors in a dominant position, but an audience member can choose to move in close to the action for a "close-up" or stay further back in the yard for what a cinematographer would call a "mid-shot," thereby controlling the amount of power the actors will be allowed to exert" (Hidley).
Commentary: This explains how much thought was put into making the authors be seen from anywhere in the theatre. So many levels of seating make it possible to make the actors to have the position located right in the middle of all its viewers.
Quote #9: "At the rear center of the projecting stage, an inner chamber could be curtained or revealed to the audience. Private scenes with no more than two or three characters might be performed there...Trap doors on the stage led to an area below stage known as hell"(Cook).
Commentary: This quote starts to explain part of the reasoning of architecture in the globe on the stage. Multiple places were set to host different scenes of the play.
Quote #10: "An upper stage directly above the inner chamber made a useful place from which a speaker might survey the scene below... On one side and possibly on both sides of the upper stage were windows from which actors might speak...Higher still, above the central upper stage stood a small acting area called heaven...Above heaven an attic invisible to the audience housed the stage machinery...This rich variety of available acting areas meant that no time needed to be lost changing scenes...Shakespeare heard his lines spoken very rapidly as the action flowed from one part of the several available acting areas to another with no breaks or intermission. The effect was cinematic. One scene dissolved into another as the action and poetry swept the audience along"(Cook).
Commentary: This quote is describing part of the setup for the globe. Multiple places were set all over the theatre to give it the feeling of action. It was somewhat like mini stages so all actors could make the play more realistic.
Anderson, Robert. “Shakespeare and His Theatre.” Holt Literature & Language Arts: Mastering the California Standards: Reading, Writing, Listening, Speaking, by G. Kylene Beers et al., Austin, Holt, Rinehart & Winston, 2003, pp. 778-80.
Cook, James Wyatt. “Globe Theatre.” Encyclopedia of Renaissance Literature. New York: Facts On File, Inc., 2006. Bloom’s Literature, Facts On File, Inc.
Hager, Alan, ed. “Globe Theatre.” Encyclopedia of British Writers, 16th and 17th Centuries. New York: Facts On File, Inc., 2005.
Hildy, Franklin J.. “Audience and Architecture: The Dynamics...at Shakespeare’s Globe.” New England Theatre Journal. Vol. 10 1999: 1-11. SIRS Renaissance. Web. 29 Nov. 2016.
Lander, Jesse M. “Shakespeare, William.” World Book Advanced. World Book, 2016. Web. 17 Nov. 2016.
Peter, John. “Where the Audience Is King.” Times of London (London, England). 14 Jun. 1997: n.p. SIRS Renaissance. Web. 29 Nov. 2016.
Seidel, Michael. “Globe Theatre.” World Book Advanced. World Book, 2016. Web. 30 Nov. 2016.
Seidel, Michael. “Globe Theatre.” World Book Advanced. World Book, 2016. Web. 18 Nov. 2016.
“Shakespeare, William.” Elizabethan World Reference Library, edited by Sonia G. Benson and Jennifer York Stock, vol. 2: Biographies, UXL, 2007, pp. 197-207.
“William Shakespeare.” Columbia Electronic Encyclopedia, 6Th Edition (2016): 1-4. History Reference Center. Web. 18 Nov. 2016.