Shakespeare 2012


<iframe width="560" height="315" src="http://www.youtube.com/embed/NaOPcTxhYbU" frameborder="0" allowfullscreen></iframe>

http://www.youtube.com/watch?v=gk1rTKB6ZF8 <<< TRAILER FOR SHAKESPEARE IN LOVE :)

Group Leaders 2012 - please choose your topics, (Vikki and Lucas H devide up topic A) and write your names beside the topics you have chosen.

Vikki - (with Masaya)

Lucas S- (with James,hannah,moses) we are doing D. :)

Dylan

Isabelle

Erin - Sofia, Livvy, Bridget, Hasibeh :) QUESTION B

Lucas H - Tim



Please add you name to a group, there 3 people in a group. This is a research/presentation task so chose to match your strengths and weaknesses.

http://www.shakespeareswords.com/ This I found was a very good site. Use it I suggest. :)

Shakespeare and Elizabethan Times Information

A- The Historical and Social background

Vikki's and Lucas's groups have these topics, guys please put your names and those of your team mates beside the headings.
Load your powerpoints or docs or youtube under the headings.

- social, political and economical history of London/England 1560-1642 (big topic

2 people)= Lucas and Tim

- geography of London at the time Masaya


The city of London was said to stretch from ‘Tower to Temple’ – from the

Tower of London in the east, to the Temple Bar about a mile away in the

west. It was bordered to the north about two miles long, and to the south

by the River Thames. Beyond these boundaries were London’s suburbs, areas

outside the strict control of the City authorities.


Most of the theatres were therefore built of the South Bank of the Thames

(among the prisons, brothels and bear pits) so they could be free from the

restrictions of the city regulations.


Theatre was also not considered to be very respectful so they often in the

rougher parts of town.


external image london-large.gif
external image london+bridge.gif

- Elizabethan World view eg:The Wheel of Fortune: ERIN

- the place of religion and the monarchy in society -

- Shakespeare's Life : Jen and Erin


- other playwrights of the time

B - The stage including:

- the playhouses - Livvy :)





- the audiences- Sofia


The Globe Theatre audiences -->
http://www.elizabethan-era.org.uk/elizabethan-theatre-audiences.htm

  • The Elizabethan general public (the commoners, stinkards or the groundlings) paid 1d to stand in the 'pit' of the theatre
  • The gentry would pay to sit in the galleries that often had cushions for comfort
  • Some rich nobles would sit on the stage itself and watch the play
  • Theatre plays were held in the afternoon because remembering that they had no lighting meant they had to use the daylight
  • Both men and women attended but often the prosperous women would wear a mask to diguise her identity
  • There were no bathrooms so people relived themselves outside the theatre, the sweage was buried in pits or thrown in the Thames river
  • Elizabethan Audience capacity could hold 11500 people and this number expanded to 3000 with the people crowding around the outside of the theatre
  • Royalty: Queen Elizabeth loved theatre and was entertained by private indoor playhouses that would be put on for her entertainment. She did not attend the plays put on in the ampitheatres
  • The nobles paid 5d for the privilege of getting better seats in the lords rooms


http://www.elizabethanenglandlife.com/elizabethan-audiences.html


elizabethan era audience
elizabethan era audience



http://internetshakespeare.uvic.ca/Library/SLT/stage/audience/audience.html


  • The range of social and educational levels in the audience was about as wide as it could be, especially since the brothels of London were close to where the theatres were built.
  • And since the plays attracted a wide range of social levels, it is likely that a similar degree of variety in opinions and beliefs would have been present


http://www.shakespeare-online.com/essays/shakespeareaudience.html

  • A penny was about a entire days wage which was the price the groundlings paid to get into the theatre
  • Shakespeare's audience would have been composed of tanners, butchers, iron-workers, millers, seamen from the ships docked in the Thames, glovers, servants, shopkeepers, wig-makers, bakers, and countless other tradesmen and their families
  • Shakespeare's audience was far more boisterous than are patrons of the theatre today. They were loud and hot-tempered and as interested in the happenings off stage as on.
  • For the audience sitting in the galleries food and drink were offered at their own cost

Quotes:
http://www.fathom.com/feature/35056/index.html
The most prominent feature of the amphitheatres was the physicality of audience responses to the play. The sitters in the galleries matched the reactions of the section on its feet in the yard. As Gosson said in 1596, "in publike Theaters, when any notable shew passeth over the stage, the people arise in their seates, & stand upright with delight and eagernesse to view it well" (Stephen Gosson, The Trumpet of Warre, 1598).

Whether because of the greater numbers, the quantity of people standing on their feet close to the stage, or the broader social catchment, the crowds at the amphitheatres were markedly noisier than those in the hall playhouses. Nor, if John Lyly is to be believed, was the noise so much a matter of incidental shuffling or coughing as a direct vocal response to the performance.


external image Manuel-Harlan-Globe-Interior.jpg

- technology of the stage and costumes-

- Use of music-

C- The texts

- language esp imagery-

- structure

D- The performances

- the acting companies

- physicality of the style

- use of voice

- mannerisms of movement and gesture

- use of multiple modes of performance- dance, music, clowning, pageantry


Livvy and Hasibeh's Queen Victoria Reaserch

died in 1619
Queen Elizabeth had her own drama company "the Queens men" formed in 1583, included a jester, Richard Tarleton
the company played out in Inns and theaters, they had an act called "fives plays in one" and "three plays in one"
later revived as the seven deadly sins
Queen Elizabeth also known as the "virgin Queen"
a play was written about her "Elizabeth the Queen" in 1930,a drama consisting of 3 acts
there was a type of drama in the time of Elizabeth and James that did not show its face in public, as it was only for the royals
the Queens mood-- imperious, moody and in love with an Earl
Jonh Shakespear was apart of legal dealings and in 1580 the Queen issuesd a long list of names (over 200) and demanded everyone on the list to appear before he and be bound over to "keep the peace towards her Queen and her subjects
Queen Elizabeth enjoyed theater, the queen went to the royal palace in Whiteharl for an audience or to a sesion in parliment
She was very glamourous
in Hamlet a highly political play about betrayal and assasination, Claudiess exquisite peice of hypocracy mimes an offical line about Queen Elzabeth "there is such a divinity doth hedge a king that treason can but peep to what it would acts little of his will"
the queen and the ladies of the audience took high offence from the king, revels theater company out an almost (something) man who performed in one of the first plays
she has an official called mathew gwinn, who was one of the overseers for the plays that performed and visited her in 1592
Elizabeth and henery the 8th were made intensly anxious by protagonistications (attempts to predict the future aka witch craft)
during the reign of Elizabeth in 1596 the entrepreneur Jame Burbage (farther of a famous actor) was paid 600 pounds for property that until the dessolotion of the monasteries had been apart of a large Friary bleonging to the order known as "the Friar preachers or black preachers

James & Masaya's Elizabethan Architecture Research

corresponds to the Ciquecento in Italy, the early Renaissance in France and the Plateresque in Spain.
globe theatre is one of Elizabethan architecture.
Hardwick hall in Derbyshire is one of the most significant Elizabethan country houses in England. Hardwick hall is one of the earliest examples of the English interpretation of the Renaissance

external image Hardwick_Hall_Giano.gif


Lucas, Hannah, Moses and James : (D)

http://www.youtube.com/watch?v=YYfM0RFZ5cs helpful video :P

PHYSICALITY OF STYLE- LUCAS

  • More than eight hundred characters appear in Shakespeare’s thirty-eight plays.
Variety of heroes, villains, kings and queens, the young and the old.
  • Stock characters are used that are subject to little development or complexity, figures familiar to any audience, readily recognized and enjoyed by the audience. The group is made of smart-talking servants, inept police men, common citizens or soldiers, court fops, and other various figures, who demonstrate the stereotypical, often comic, qualities of their origins, whether they be English, Welsh, French, Italian, or Spanish.
  • Shakespeare’s characters are often complex; they are torn on divided loyalties, sudden passion, joy. These are important to the audience as the characters mirror emotions people have in everyday life.

http://www.docstoc.com/docs/102163812/Elizabethan-Theatre-Research

Hanna’s research for Use of multiple modes of performance- dance, music, clowning, pageantry


Elizabethan Music:

Music played an important role in the lives of the people who lived during the Elizabethan era. Elizabethan Music was a major form of entertainment. The collection of Elizabethan musical instruments included the musical instruments from the Medieval period together with the musical instruments which emerged during the Elizabethan era. The introduction of new musical instruments such as the early violin called the viol, the early oboe called the hautboy and the keyboard musical instruments called the spinet, harpsichord and the virginals provided the sounds which produced a much more refined sound than had been produced during the Medieval era. The virginals was a keyboard instrument similar to a harpsichord. Combinations of musical instruments, as in the modern orchestra, were still in the experimental stage but provided the opportunity to create unusual and creative music. There were many new songs and hymns composed during the Elizabethan era. Elizabethan composers for the voice made use of two distinct styles which were called the Madrigal and the Ayre. The most popular instrument played in the Elizabethan era was the lute, a musical instrument from the Medieval era. The popularity of the lute led to a variety of different forms to be developed. One of these new Elizabethan musical instruments was called the Chittarone, a lute which could reach 6 feet tall. The Chittarone had an elongated neck to which long bass strings were attached to an additional peg-box. The Elizabethan musicians enjoyed experimenting with various combinations of musical instruments. But the most popular combination of Elizabethan musical instruments would become known as an 'English Consort'. This combination of Elizabethan musical instruments initially consisted of 4 musical instruments. This quartet comprised of: Violin Flute Lute Viol.
http://www.elizabethan-era.org.uk/elizabethan-musical-instruments.htm
Elizabethan Dance:
Elizabethan Dance refers to dancing in the time and plays of William Shakespeare and his contemporaries. There are references to dances such as the galliard or lavolta, coranto, pavane, and canary, and stage directions indicate dancing in many plays including Romeo and Juliet, Much Ado About Nothing, Twelfth Night, or What You Will, Macbeth, and As You Like It. Terms like 'measure' and 'foot it' can also refer to dancing, and dance is often woven into the plot as part of a masque or masquerade ball, especially in plays by John Marston. There is no known dancing instruction manual for English dances of Shakespeare's time, but there are descriptions of almains and the measures in the Inns of Court manuscripts (see Payne), mentions of morris dance in church court and civic records (see Forrest), and large sections of dancing in court masques (see Ravelhofer and Welsford). Other dances referred to in English Renaissance plays such as the galliard, pavane, and lavolta are described in French and Italian dancing manuals by Thoinot Arbeau and Fabritio Caroso among others. Some of the country dances Shakespeare mentions appear in John Playford's The English Dancing Master(1651), but Playford's choreographies probably differ from the versions performed on the Shakespearean stage.Jigs often followed performances of plays in late sixteenth- and early seventeenth-century England, but we know very little about the actual steps of this dance (see Baskerville).
http://en.wikipedia.org/wiki/Shakespearean_dance
Elizabethan clowning:
Elizabethan Court Jesters played a minor role in court life but certainly brightened up the entertainments! The history of court jesters dated back before the Medieval era of the Middle Ages, which they are most closely associated with. Queen Elizabeth would have enjoyed the antics of her father famous court jester - Will Somers. Court jesters were responsible for bringing a smile to the face of a monarch who was feeling angry or who was feeling unwell. The court jesters of the renaissance period can be compared to the circus clowns of today. The first court jesters wore a hat depicting the ears of an ass - the asses tail was added to his costume. The clothes worn by the court jester moved on to gaudy, brightly colored and humerous attire. The court jesters cloth hat was most distinctive consisting of three points with a jingle bell at the end of each point. A court jester would also carry a mock sceptre called a bauble which was adorned by a carved head or the inflated bladder of an animal. The popularity of Elizabethan jesters is reflected in the plays of the period. William Shakespeare featured jesters in many of his plays including:
A Fool in Timon of Athens
The Clown in Othello
Costard in Love's Labours Lost
Feste in Twelfth Night
Launcelot Gobbo in The Merchant of Venice
Lavache in All's Well That Ends Well
Puck in A Midsummer Night's Dream
Touchstone in As You Like It
The Fool in King Lear
Thersites in Troilus and Cressida
Trinculo in The Tempest
Two Clowns in Hamlet
Yorick in Hamlet
http://www.elizabethan-era.org.uk/elizabethan-jesters.htm

Elizabethan pageantry:
Elizabethan tournaments were a great form of Elizabethan entertainment! Tournaments were enjoyed by both Commoners, Royalty and Nobles, the Upper Class and the Lower Classes. A rich member of the English aristocracy would sponsor a tournament and supply the purse for the prizes. A Elizabethan Tournament was a series of mounted and armoured combats, fought as contests, in which a number of combatants compete and the one that prevails through the final round or that finishes with the best record is declared the winner and is awarded the prize. Tournaments were imported from France during the 12th century and formed an important element of Elizabethan military and social life. The contests in the tournament were fought with blunted swords or lances. However there were still many casualties, as many as 10% were injured, and there were also fatalities. The number of fatalities dropped as the tournaments became better regulated. Elizabethan physicians were always at hand during the tournaments. Knights would fight as individuals but there would also be team events. There were many different types of Elizabethan Tournaments which each had a different type of combat method. The events of the tournament were the joust, the melee, and fighting on foot. The Tournaments were the favorite sport of Elizabethan Knights. The tournaments kept the knight in excellent condition for the role he might need to play during warfare.
http://www.elizabethan-era.org.uk/elizabethan-tournaments.htm
external image safe_image.php?d=AQAQ3ipzrRRCVVQN&w=90&h=90&url=http%3A%2F%2Fmedia.fastclick.net%2Fw%2Fget.media%3Fsid%3D23476%26m%3D6%26tp%3D8%26d%3Ds%26c%3D1Elizabethan Musical Instruments
www.elizabethan-era.org.ukVisit this site dedicated to providing information about Elizabethan Musical Instruments.Fast and accurate details and facts about the history of Elizabethan Musical Instruments.Learn the facts about Elizabethan Musical Instruments.

Use of voice: Moses


The fact is that we don‟t entirely know exactly what Shakespeare‟s English sounded like. It is thought that it was somewhere between Australian, Cornish, Irish, Scottish and a
dash of Yorkshire. It did not sound like the „English‟ accent of today.

Accent altered between social classes and was dependent on where you lived city, country etc.
Actors were expected to be heard everywhere in the theatre, with no microphones and audiences of 2000 people so projection was immensely important.

Song used in the plays, boys who were accomplished singers and actors would perform the songs.

It is common in Shakespeare‟s scripts to find that the rhythm of the words are written in, this is called iambic pentameter and suggests the way the words should be spoken. To understand iambic pentameter, you first need to understand the term ''iamb.'' The words ''annoy,'' ''fulfill,'' ''pretend,'' ''regard,'' and ''serene'' are all iambs because the one syllable of each word is unstressed and the one syllable is stressed. Here is an example from Romeo and Juliet.

"But, soft! What light through yonder window breaks?
Here are two more lines from Romeo and Juliet that also demonstrate the use of iambs:
I will not fail: 'tis twenty years till then. I have forgot why I did call thee back."

When a line has five iambs, it is in iambic pentameter.

http://www.docstoc.com/docs/102163812/Elizabethan-Theatre-Research

Mannerisms of Movement and Gesture: Moses


the physical movement of a character during a play, May include facial expressions, and body language. Sometimes a playwright will be very explicit about bodily and facial gestures in the stage directions.

Shakespearian acting style is termed today as being melodramatic distinguished by emphasized and exaggerated displays of emotions and stock characters. Its important because audiences were large and loud.
Movements and gestures also spelt out the intricate details of the play which could not exist in props or scenery.

http://www.docstoc.com/docs/102163812/Elizabethan-Theatre-Research