English drama -- Early modern and Elizabethan, 1500-1600 -- History and criticism; English drama -- To 1500 -- History and criticism
As far as can be gathered from records, there was no great attempt to
preserve, in the actor's dresses, the local colouring of the play.
Nevertheless various easy and obviously required concessions would be
made. Kings and queens would dress magnificently, mechanics and
serving-men humbly. In _Orlando Furioso_ we read that Orlando is to
enter 'attired as a madman' and that Marsilius and Mandricard are to
appear 'like Palmers'; in _Alphonsus, King of Arragon_ 'Calchas rises up
in a white surplice and a cardinal's mitre', and in _Edward the First_
Longshanks figures 'in Friar's weeds'. The list could be continued. It
is practically certain that there was no painted scenery, the absence of
which would greatly facilitate the expeditious passage from scene to
scene. Stage properties, however, were probably a valuable part of the
theatrical belongings. If we glance over the stage-directions in the
plays of Greene, Peele, Kyd and Marlowe, we come upon such visible
objects as a throne, a bower, a bed, a table, a tomb, a litter, a cage,
a chariot, a hearse, a tree; more elaborate would be Alphonsus's canopy
with a king's head at each of three corners, Bungay's dragon shooting
fire, Remilia's 'globe seated in a ship', the 'hand from out a cloud
with a burning sword' (_A Looking-Glass_), and the Brazen Head casting
out flakes of fire (_Alphonsus_).
Considering Marlowe's plays in the light of this information we shall be
obliged to admit that they stood a good chance of having very fair
justice done to them. The points in which the staging differed from our
modern methods were in favour of greater realism. Daylight is more
truthful than foot-lights are; and if there was any poverty in the
setting, so much the more was attention centred upon the actors, who are
declared, by the authors themselves, to have attained a high level of
excellence. Fame has not yet forgotten the names of Burbage and Alleyn.
INDEX
I. AUTHORS
Aeschylus, 97, 101-2.
Ariosto, 127.
B., R., 99, 113.
Bale, Bishop, 79, 80-1.
Chapman, George, 214.
Dekker, Thomas, 241.
Drayton, Michael, 231.
Edward VI, 79.
Edwards, Richard, 115, 203, 224.
Gascoigne, George, 127.
Geoffrey, Abbot, 22.
Greene, Robert, 124, 146-67, 169, 170, 172, 173, 179, 180, 193, 221,
224, 276.
Hardy, Thomas, 30.
Heywood, John, 61, 68, 81, 82-4, 117.
Heywood, Thomas, 211.
Hilarius, 15.
Hroswitha, 10.
Hughes, Thomas, 110-15, 216, 224.
Jonson, Ben, 71, 72, 161, 198, 207.
Kyd, Thomas, 124, 193, 194, 197-221, 225, 262, 263, 269, 276.
Lodge, Thomas, 124, 148, 193, 195-7.
Lyly, John, 124-46, 148, 157, 161, 166, 167, 168, 169, 172, 173, 193,
209, 224, 270, 272, 273.
Marlowe, Christopher, 61, 107, 117, 124, 148, 167, 180, 187, 188, 193,
194, 196, 209, 216, 218, 221-63, 269, 270, 273, 276.
Marston, John, 203, 214.
Massinger, Philip, 211.
Milton, John, 107, 185.
Nash, Thomas, 124, 188-92.
Norton, Thomas, 103-10, 118, 194.
Public-domain text, read in full here on John Shaqi.
Reviews
Reviews
No reviews yet
Be the first to share your thoughts on this work.
Elsewhere in the archive
Join the Discussion
Join the discussion
Sign in to leave a comment or review.
Sign InorCreate an account