The aim of this scholarly exposition is to give a brief introduction into how the various places of performances affected the use of properties on the Early Modern Stage. After introducing the two main playhouses of Shakespeare’s company the King’s Men, the Globe and the Blackfriars, the properties commonly used by the players will be examined.
When thinking of Early Modern Theatre, the Globe is one of the first things that come to mind, being "an icon of English dramatic and literary history and one of the most famous buildings in the world". The outdoor playhouse, built by the company the Lord Chamberlain's Men of which Shakespeare was a member, opened in 1599 and was located at the south bank of the River Thames in London.
Even though many of the company's performances took place there, this was not the only location they used for staging Shakespeare's plays. By 1611, the company which was now called the King’s Men, also performed in the indoor playhouse Blackfriars, at court or in private houses by invitation. Additionally, the company went touring through the country. As the actors performed in many different locations, they had to adapt the staging of the play to the changing circumstances.
Table of Contents
1. Theatre Review of Richard II
2. Theatre Review of Richard III
3. Scholarly Exposition
3.1 Introduction
3.2 The Globe
3.3 The Blackfriars
3.4 The use of properties on the Early Modern Stage
3.5 Conclusion
Objectives and Themes
The objective of this work is to analyze the role and use of theatrical properties in Early Modern theatre, specifically examining how performance spaces like the Globe and the Blackfriars influenced staging practices, alongside reviews of contemporary productions of Shakespeare's "Richard II" and "Richard III".
- Minimalistic and symbolic use of props in contemporary Shakespearean productions.
- Architectural and environmental constraints of Early Modern playhouses.
- The influence of performance venues on stage design and property selection.
- The symbolic function of physical objects in conveying narrative and thematic depth.
- Modern adaptation and interpretation of Shakespearean classics.
Excerpt from the Book
3.4 The use of properties on the Early Modern Stage
The Globe and the Blackfriars are not the only places of the King’s Men’s performances for they staged their plays at court, in private houses and toured the countryside, like many other companies during this time, affecting the kind and the number of props used on stage (Sofer 564). The word “prop” is derived from the Old English word “property” and from a materialistic point of view describes ‘an object which belongs to a player, an impresario or a company’. Yet, it has also a connotation of ‘an object placed beneath or against a structure’ as the OED points out. This definition stresses the tendency to view props as beneath or against the play-text, being mere “theatrical protheses” (Harris and Korda 1). According to Harris and Korda (1), all movable physical objects on stage are considered props, including costumes, theatrical furniture and hand properties. However, other scholars regard neither costumes nor furniture as properties but as distinct categories (Sofer 561). In this paper the second definition will be used as it is more common.
It is difficult to reconstruct which props were actually used on the Early Modern stage. One source of information are the stage directions in the play-text which sometimes explicitly name certain objects. In Shakespeare’s Richard III 1.2 the sword which Richard offers Lady Anne is directly mentioned in the stage directions. Though the ring, which he puts on her finger is only verbally indicated by “vouchsafe to wear this ring” (1.2.204) and “look how my ring encompasseth thy finger” (1.2.206). Thus, it can only be assumed that the actors used a ring. A very rare source of information are eyewitness accounts of Shakespeare’s plays that repeatedly document the use of props. Another evidence for the existence of properties is Philip Henslowe’s inventory list of the Admiral’s Men from 1598.
Summary of Chapters
1. Theatre Review of Richard II: Analyzes a minimalistic contemporary production of Shakespeare's play, focusing on how limited props effectively symbolize the protagonist's downfall and identity crisis.
2. Theatre Review of Richard III: Examines a modern staging of the play, highlighting how stage design elements like mud and rain serve as powerful symbols for political intrigue and systemic decay.
3. Scholarly Exposition: Provides an academic overview of the Early Modern theatre environment and explores how the physical architecture of venues like the Globe and the Blackfriars necessitated the use of portable, symbolic properties.
Keywords
Shakespeare, Early Modern Theatre, Properties, Staging, Richard II, Richard III, The Globe, Blackfriars, Performance Practice, Symbolism, Drama, King's Men, Set Design, Materiality, Theatre Review.
Frequently Asked Questions
What is the central focus of this academic work?
The work focuses on the relationship between performance spaces, stage properties, and the thematic interpretation of Shakespearean plays, both in their historical context and modern productions.
What are the primary themes discussed?
The central themes include the influence of theatre architecture on staging, the evolution of prop usage, and how physical objects act as signifiers for status, power, and identity.
What is the main goal or research question?
The goal is to explore how different performance environments, such as open-air playhouses versus indoor theaters, dictated the constraints and symbolic utility of stage properties.
Which scientific methods are applied?
The work utilizes a combination of performance analysis (theatre reviews) and historical research based on stage directions, inventory lists, and scholarly discourse regarding Early Modern theatrical practices.
What is covered in the main section of the paper?
The main section provides an analysis of two contemporary theatre reviews and a historical examination of the Globe, the Blackfriars, and the general usage of props in the 16th and 17th centuries.
How would you characterize this paper through its keywords?
Key terms defining the work are Shakespeare, Early Modern Theatre, stage properties, performance practice, and symbolism.
How did the contemporary production of Richard II handle prop limitations?
The ensemble used minimalistic props, such as a silver ring representing a crown and a mirror frame, which served to vividly symbolize Richard’s obsession with power and his subsequent loss of identity.
What role did dirt and rain play in the reviewed production of Richard III?
These elements were used as symbolic stage design choices: the mud represented political corruption and the downfall of the system, while the rain established a mystical atmosphere and linked the play's beginning to its end.
What is the distinction between props in the Early Modern era versus modern perspectives?
The paper highlights that modern scholars often debate whether costumes and furniture should be categorized as props, whereas the historical use was primarily dictated by portability and symbolic function.
Why were the Globe and the Blackfriars significant for stage development?
These venues represent the two main types of Early Modern playhouses (outdoor and indoor), each influencing how actors interacted with the audience and how props were incorporated into the performance.
- Quote paper
- Julia Holleber (Author), 2019, Performing Shakespeare. The Use of Properties in Early Modern Performances, Munich, GRIN Verlag, https://www.hausarbeiten.de/document/889169
