Behind the frame the finest scenery ending explained
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- #Behind the frame the finest scenery ending explained license
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Shakespeare seems to have written about 2 a yearĪ. To make a living, a playwright had to sell 4 or 5 plays a yearĢ. Playwrights had an incentive to be prolificġ. Shakespeare's plays were not published until after he diedĬ. Ben Jonson published his own dramas in 1616 Like today's television scripts, plays were not considered literature A company produced a new play about every 17 daysĥ. Multiple companies playing in and around LondonĤ. Theatrical conditions favored the development of playwritingġ. But he was only one of many significant dramatists of his time. The reputation of the Elizabethan theatre rests on the work of William Shakespeare (1564-1616)ġ. Despite these challenges, by 1600 English theatre companies were creating what many consider the greatest theatrical era the world has knownĪ. Permanent theatres were built outside city limits The London city council forbade performances within the cityĪ. Every play had to be approved by the crownģ.
#Behind the frame the finest scenery ending explained license
Every company had to have a license from the crownĢ. Although patronage protected them, companies were still restrictedġ. Theatre company names: Lord Admiral's Men, the Lord Chamberlain's Men, the King's Men, reflect this patronage To have legal status acting companies needed noble patronageī. Actors were considered "masterless men"Ī. Acting was not an accepted profession in the dominant trade-guild schemeġ. They also had to own or control all production elements and assemble a company
#Behind the frame the finest scenery ending explained professional
Professional groups had to be able to play often, have a large and varied stock of plays, and have a large enough performance spaceġ. Public performances took place in the afternoon, they distracted people from workį.
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Socially, many considered performing secular plays for money wasteful and sinfulĪ. The most enthusiastic supporters of the religious cycles were the most opposed to a professional theatreġ. With traditional means of support no longer available, theatre became a commercial enterpriseĮ. Dramatists turned to classical literature, historical chronicles and legends for subject matterĢ. Theatre had to become secular if it was to surviveġ. Outdoor religious drama was now forbidden by the same church and state that had once encouraged and supported itĭ. Despite their popularity, the cycle plays were finished Elizabeth I outlawed public performance of religious and political playsĪ. By 1550, church and state had begun to try to reduce the growing disturbancesġ. The center of power shifted to the state and away from the churchĬ. Theatrical performance became a useful propaganda mediumĪ. Disputes in doctrine and practice led to the formation of Protestant sectsĪ. The Renaissance spirit of inquiry also extended to religionġ. Playwrights began to write plays that imitated or adapted classical subjectsī. Revived interest in the classical world - Greece and RomeĪ. A rebirth in learning - the RenaissanceĢ. Among the forces that brought about change was a growing secularization of thoughtġ. Miracles were staged as convincingly as possible to reinforce faith in God's powerĪ. Hell was made as gruesome as possible - the "hell mouth"Ģ. There were frequently a number of spectacular special effectsġ. The most imaginative costumes were those of the devilsį. Saints and biblical personages were associated with specific symbolsģ. Eternal characters wore church garmentsĪ. Earthly characters wore contemporary clothes - no attempts were made for historical accuracyĢ. Costumes were used to distinguish between the inhabitants of Earth, Heaven and Hellġ. The overall setting symbolized human and earthly existence framed by Heaven and HellĮ. The same space might change its identity merely by being associated with a different mansionĢ. "Platea" - undifferentiated stage space adjacent to the mansion "Mansion" - a scenic structure that indicated a specific place or locationī. Regardless of the type of stage or location, the staging conventions were the same everywhereĪ. Movable stage - a wagon that could move from one location to anotherĭ. Fixed stage - set against a building, or in the middle of a squareī.
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Theatrical space was improvised and stages could be fixed or mobileĪ. Staging also involved a number of conventionsġ. Both time and space were telescoped or expanded as neededĬ. The fluidity of time is also reflected in the structure of the cyclesġ. The stage depicted heaven at one end and hell at the otherī. A major convention of medieval drama involves the way time is handledĢ.