An Introduction to ShakespeareMacCracken, H. N. (Henry Noble)
General
An Introduction to Shakespeare
MacCracken, H. N. (Henry Noble)
Shakespeare, William, 1564-1616 -- Handbooks, manuals, etc.
There were, however, scenes which were acted without any setting. The
Elizabethans did not feel it necessary to have every scene definitely
localized. Consequently, many scenes which are described in our modern
editions of Shakespeare as 'A Street,' 'A Place before the Castle,'
etc., were not definitely assigned to any place, and were usually acted
without settings on the front stage before the closed curtains. In
order that no time should be lost while properties were {44} being
changed, such scenes were commonly inserted between scenes requiring
properties, so that a certain alternation between set and unset scenes
resulted. The fourth act of the _Merchant of Venice_, for example,
begins with the court-room scene, which demanded the whole stage, the
properties for the court-room being set on the back stage, with perhaps
some moved toward the front. The fifth act takes place in Portia's
garden, which also took up the whole stage, with garden properties set
on the rear stage. Between these two scenes comes the one in the
street, which was acted before the closed curtains and required no
properties. The arrangement is somewhat like that followed in many
modern melodramas, where a scene not requiring properties is acted in
front of a drop scene while scenery is being set behind. The raising
of the drop--which corresponds to the opening of the Elizabethan
curtains--not only reveals the setting behind, but also makes the whole
stage, including that part which was in front of the drop, the scene of
the action which follows.[3]
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[Illustration: TIMON OF ATHENS, v, 3. INNER SCENE.
_Enter a Souldier in the Woods, seeking Timon._
"_Sol_.--Timon is dead, who hath out-stretcht his span,
Some Beast reade this; There do's not live a Man.
Dead sure, and this his Grave, what's on this Tomb."
Reproduced from _The Shakespearean Stage_, by V. E. Albright, through
the courtesy of the publishers, the Columbia University Press.]
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Public-domain text, read in full here on John Shaqi.
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