Let us now pay a visit to the Globe, to us the most interesting of all the theatres, for it is here that Shakespeare's company acts, and here many of his plays are first seen on the stage. We cross the Thames by London Bridge with its lines of crowded booths and shops and throngs of bustling tradesmen; or if it is fine weather we
take a small boat and are rowed over the river to the southern shores. Here on the Bankside, in the part of
London now called Southwark, beyond the end of the bridge, and in the open fields near the Bear Garden, stands a roundish, three-story wooden building, so high for its size that it looks more like a clumsy, squatty tower
than a theatre. As we draw nearer we see that it is not exactly round after all, but is somewhat hexagonal in
shape. The walls seem to slant a little inward, giving it the appearance of a huge thimble, or cocked hat, with six
flattened sides instead of a circular surface. There are but few small windows and two low shabby entrances.
The whole structure is so dingy and unattractive that we stand before it in wonder. Can this be the place where
"Hamlet," "The Merchant of Venice," and "Julius Caesar" are put on the stage? Our amazement on stepping inside is even greater. The first thing that astonishes us is the blue sky over our heads. The building has no roof except a
narrow strip around the edge and a covering
at the rear over the back part of the stage.
The front of the stage and the whole center of
the theatre is open to the air. Now we see how the interior is lighted, though with the sunshine must often come
rain and sleet and London fog. Looking up and out at
the clouds floating by, we notice that a flag is flying from
a short pole on the roof over the stage. This is most important, for it is announcing to the city across the river
that this afternoon there is to be a play. It is bill-board, newspaper notice, and advertisement in one: and we may
imagine the eagerness with which it is looked for among the theatre-loving populace of these later Elizabethan
years. When the performance begins the flag will be lowered to proclaim to all that "the play is on."
Where, now, shall we sit? Before us on the ground level is a large open space, which corresponds to the
orchestra circle on the floor of a modern play-house. But here there is only the flat bare earth, trodden down hard, with rushes and in the straw scattered over it. There is not a sign of a seat! This is the "yard," or, as it is
sometimes called, "the pit," where, by paying a penny or two, London apprentices, sailors, laborers, and the mixed
crowd from the streets may stand jostling together. Some of the more enterprising ones may possibly sit on boxes
and stools which they bring into the building with them. Among these "groundlings" there will surely be bustling
confusion, noisy wrangling, and plenty of danger from pickpockets; so we look about us to find a more comfortable place from which to watch the performance.
On three sides of us, and extending well around the stage, are three tiers of narrow balconies. In
some places these are divided into compartments, or boxes. The prices here are higher, varying from a few pennies to half a crown, according to the location. By putting our money into a box held out to us, -- there are no tickets, -- we are allowed to climb the crooked wooden stairs to one of these compartments. Here we find rough benches and chairs, and above all a little seclusion from the throng of men and boys below.
Along the edge of the stage we observe that there are stools, but these places, elevated and facing the audience,
seem rather conspicuous, and besides the prices are high. They will be taken by the young gallants and men of
fashion of London, in brave and brilliant clothes, with light swords at their belts, wide ruffled collars about their necks, and gay plunies in their hats. It will be amusing to see them show off their fine apparel, and display their wit at the expense of the groundlings in the pit, and even of the actors themselves. We are safer, however, and much more comfortable here in the balcony among the more sober, quiet gentlemen of London, who with mechanics, tradesmen, nobles, and shop-keepers have come to see the play.
The moment we entered the theatre we were impressed by the size of the stage. Looking down upon it from the
balcony, it seems even larger and very near us. If it is like the stage of the Fortune it is square.... Here in
the Globe it is probably narrower at the front than at the back, tapering from the rear wall almost to a point.
Whatever its shape, it is only a roughly-built, high platform, open on three sides, and extending halfway into the
"yard." Though a low railing runs about its edge, there are no footlights, -- all performances are in the afternoon
by the light of day which streams down through the open
top, -- and strangest of all there is no curtain. At each side of the rear we can see a door that leads to the "tiring-rooms" where the actors dress, and from which they make their entrances. These are the "green-rooms" and
wings of our theatre today.
Between the doors is a curtain that now before the play begins is drawn together.
Later when it is pulled aside, -- not upward as curtains usually are now, -- we shall see a shallow recess or
alcove which serves as a secondary, or inner stage. Over this extends a narrow balcony covered by a roof which is
supported at the front corners by two columns that stand well out from the wall. Still higher up, over the inner
stage, is a sort of tower, sometimes called the "hut," and from a pole on this the flag is flying which summons the
London populace from across the Thames. Rushes are strewn over the floor; there are no drops or wings or
walls of painted scenery. In its simplicity and bareness it reminds us of the rude stage of the strolling players.
Indeed, the whole interior of the building seems to be but an adaptation of the tavern-yard and village-green.
How, we wonder, can a play like "Julius Caesar" or "The Merchant of Venice" be staged on such a crude
affair as this! What are the various parts of it for? Practically all acting is done, we shall see see, on the front of the platform well out among the crowd in the pit, with the audience on three sides of the performers. All out-of-door scenes will be acted here, from a conversation in the streets of Venice or a dialogue in a garden, to a battle, a procession, or a banquet in the Forest of Arden. Here, too, with but the slightest alteration, or even with no change at all, interior scenes will be presented. With the "groundlings" crowded close up to its edges, and with young gallants sitting on its sides, this outer stage comes close to the people. On it will be all the main action of the drama: the various arrangements at the rear are for supplementary purposes and certain important effects.
The inner stage, or alcove beyond the curtain, is used in many ways. It may serve for any room somewhat
removed from the scene of action, such as a passage-way or a study. It often is made to represent a cave, a shop, or a prison. Here Othello, in a frenzy of jealous passion, strangles Desdemona as she lies in bed; here probably the ghost of Caesar appears to Brutus in his tent on the plains of Philippi; here stand the three fateful caskets in the mansion at Belmont, as we see by Portia's words,
"Go, draw aside the curtains and discover
The several caskets to this noble Prince."
Tableaux and scenes within scenes, such as the short play in "Hamlet" by which the prince "catches the conscience of the king," are acted in this recess. But the most important use is to give the effect of a change of
scene. By drawing apart and closing the curtain, with a few simple changes of properties in this inner compartment, a different background is possible. By such a slight variation of setting at the rear, the platform in the pit is
transformed, by the quick imagination of the spectators, from a field or a street to a castle hall or a wood. Thus,
the whole stage becomes the Forest of Arden by the use of a little greenery in the distance. Similarly, a few trees and shrubs at the rear of the inner stage, when the curtain is thrown aside, will change the setting from the court-room in the fourth act of "The Merchant of Venice," to the scene in the garden at Belmont which immediately
The balcony over the inner stage serves an important
purpose, too. With the windows, which are often just
over the doors leading to the tiring-rooms, it gives the effect of an upper story of a house, of walls in a castle, a tower, or any elevated over the position. This is the place, of course, where Juliet comes to greet Romeo who is in the garden below. In "Julius Caesar" when Cassius says,
"Go Pindarus, get higher on that hill;....
And tell me what thou notest about the field,"
the soldier undoubtedly climbs to the balcony, for a moment later, looking abroad over the field of battle, he reports to Cassius what he sees from his elevation. Here Jessica appears when Lorenzo calls under Shylock's windows, "Ho! who's within?" and on this balcony she is standing when she throws down to her lover a box of her
father's jewels. "Here, catch this casket; it is worth the pains," she says, and retires into the house, appearing
below a moment later to run away with Lorenzo and his masquerading companions.
Besides these simple devices, if we look closely enough
we shall see a trap-door, or perhaps two, in the platform.
These are for the entrance of apparitions and demons. They correspond, in a way, to the balcony by
giving the effect of a place lower than the stage level. Thus in the first scene of "The Tempest," which takes place in a storm at sea, the notion of a ship may be suggested to the audience by sailors entering from the trap-door, as they might come up a hatchway to a deck. If it is a play with gods and goddesses and spirits, we may be startled to see them appear and disappear through the air. Evidently there is machinery of some sort in the hut over the balcony
which can be used for lowering and raising deities and creatures that live above the earth. On each side of the
stage is a flight of steps leading to the balcony. These are often covered... Here sit
councils, senates, and princes with their courts. Macbeth uses them to give the impression of ascending to an upper
chamber when he goes to kill the king, and down them he rushes to his wife after he has committed the fearful murder.
What astonishes us most, however, is the absence of scenery. To be sure, some slight attempt has been made
to create scenic illusion. There are, perhaps, a few trees and boulders, a table, a chair or
two, and pasteboard dishes of food. But there is little more. In the only drawing of the interior of
an Elizabethan theatre that has been preserved, -- a sketch of the Swan made in 1596, -- the stage has absolutely no
furniture except one plain bench on which one of the actors is sitting. Here before us in the Globe the walls may be
covered with loose tapestries, black if the play is to be a
tragedy, blue if a comedy; but it is quite possible that they are entirely bare. A placard on one of the pillars
announces that the stage is now a street in Venice, now a courtroom, now the hall of a stately mansion. It may be
that the Prologue, or even the actors themselves, will tell us at the opening of an act just where the scene is laid
and what we are to imagine the platform to represent.
In "Henry V," for instance, the Prologue at the beginning not only explains the setting of the play, but asks
forgiveness of the audience for attempting to put on the stage armies and battles and the "vasty fields of France."
"But pardon, gentles all,
The flat unraised spirit that hath dared
On this unworthy scaffold to bring forth
So great an object. Can this cockpit hold
The vasty fields of France? or may we cram
Within this wooden O the very casques
That did affright the air at Agincourt?
O, pardon! since a crooked figure may
Attest in little place a million;
And let us, ciphers to this great accompt,
On your imaginary forces work.
Suppose within the girdle of these walls
Are now confined two mighty monarchies,
Whose high-upreared and abutting fronts
The perilous, narrow ocean parts asunder.
Piece out our imperfections with your thoughts;
Into a thousand parts divide one man,
And make imaginary puissance.
Think, when we talk of horses, that you see them
Printing their proud hoofs i' the receiving earth,
For 'tis your thoughts that now must deck our kings,
Carry them here and there, jumping o'er times.
Turning the accomplishment of many years
Into an hour-glass."
In "As You Like It" it is an actor who tells us at the
opening of the second act that we are now to imagine the
Forest of Arden before us. In the first sentence which the banished Duke speaks, he says, "Are not these woods
more free from peril than the envious court?" and a moment later, when Touchstone and the runaway maidens
first enter the woods, Rosalind exclaims, "Well, this is
the Forest of Arden!" A hint, a reference, a few simple contrivances, a placard or two, -- these are enough.
"Imaginary forces" are here in the audience keenly alive, and they will do the rest. By means of them, without the
illusion of scenery, the bare wooden stage will become a ship, a garden, a palace, a London tavern. Whole armies
will enter and retire by a single door. Battles will rage, royal processions pass in and out, graves will be dug,
lovers will woo, -- and all with hardly an important alteration of the setting.
Lack of scenery does not limit the
type of scenes that can be presented. On the contrary, it gives almost unlimited opportunities to the dramatist,
for the spectators, in the force and freshness of their imagination, are children who willingly "play" that the stage is anything the author suggests. Their youthful enthusiasm, their simple tastes, above all their lack of knowledge of anything different, give them the enviable power of imagining the grandest, most beautiful, and most varied scenes on the same bare, unadorned boards. Apparently they are well satisfied with their stage; for it is not until nearly fifty years after Shakespeare's death that movable scenery is used in an English theatre.
It is now three o'clock and time for the performance to begin. Among the motley crowd of men and boys in the
yard there is no longer room for another box or stool. They are evidently growing impatient and jostle together in noisy confusion. Suddenly three long blasts on a trumpet sound. The mutterings in the pit subside, and all eyes turn toward the stage. First an actor, clothed in a black mantle and wearing a laurel wreath on his head, comes from behind the curtain and recites the prologue. From it we learn something of the story of the play to follow, and possibly a little about the scene of action. This is all very welcome, for we have no programs and the plot of the drama is unfamiliar. In a minute or two the Prologue retires and the actors of the first scene enter. We are soon impressed by the rapidity with which the play moves on. There is little stage "business"; though there may be
some music between the acts, still there are no long waits; one scene follows another as quickly as the actors can
make their exits and entrances. The whole play, therefore, does not last much over two hours. At the close
there is an epilogue, spoken by one of the actors, after which the players kneel and join in a prayer for the
queen. Then comes a final bit of amusement for the groundlings: the clown, or some other comic character of
the company, sings a popular song, dances a brisk and boisterous jig, and the performance of the day is done.
During our novel experience this afternoon at the
Globe, nothing has probably surprised us more than the
elaborate and gorgeous costumes of the actors. At a time when so little attention is paid to of the
scenery we naturally expect to find the dress of the players equally simple and plain. But we are mistaken. The costumes, to be sure, make little or no pretension to fit the period or place of action. Caesar appears in clothes such as are worn by a duke or an earl in 1601. "They are the ordinary dresses of various classes of the day, but they are often of rich material, and in the height of current fashion. False hair and beards, crowns and sceptres, mitres and croziers, armour, helmets, shields, vizors, and weapons of war, hoods, bands, and cassocks, are relied on to indicate among the characters differences of rank or profession.
The foreign observer, Thomas Platter of Basle, was impressed by the splendor of the actors' costumes. 'The players wear the most costly and beautiful dresses, for it is the custom in England, that when noblemen or knights die, they leave their finest clothes to their servants, who, since it would not be fitting for them to wear such splendid garments, sell them soon afterwards to the players for a small sum'" (Sidney Lee, Shakespeare and the Modern Stage, p. 41). But no money is spared to secure the fitting garment for an important part. Indeed, it is quite probable that more is paid for a king's velvet robe or a prince's
silken doublet than is given to the author for the play itself. Whether the elaborate costumes are appropriate
or not, their general effect is pleasing, for they give variety and brilliant color to the bare and unattractive stage.
If we are happily surprised by the costuming of the play, what shall we say of the actors who take the female
parts! They are very evidently not women, or even girls, but boys whose voices have not changed, dressed, tricked out, and trained to appear as feminine as possible. It is considered unseemly for a woman to appear on a public stage, -- indeed, the professional actress does not exist and will not be seen in an English theatre for nearly a century.
Meanwhile plays are written with few female parts (remember "The Merchant of Venice," "Julius Caesar," and
"Macbeth") and young boys are trained to take these roles. The theatregoers seem to enjoy the performance
just as much as we do today with mature and accomplished actresses on the stage. Shakespeare and his
fellow dramatists treated the situation with good grace or indifference. Thus in the epilogue of "As You Like It"
Rosalind says to the audience, "If I were a woman I would kiss as many of you as had beards that pleased me." The
jest, of course, consists in the fact that she is not a woman at all, but a stripling.
In a more tragic vein Cleopatra, before she dies, complains that "the quick comedians . . . will stage us, . . . and I shall see some squeaking Cleopatra boy my greatness." It may be that the boys who take the women's parts this afternoon wear masks to make them seem less masculine, though how that can improve the situation it is difficult to understand. There is an amusing reference to this practice in "A Midsummer Night's Dream." When Flute, the bellows-mender, is assigned a
part in the drama which the mechanics of Athens are rehearsing, he exclaims, "Nay, faith, let me not play a
woman; I have a beard coming"; to which protest Quince replies, "That's all one: you shall play it in a mask, and
you may speak as small as you will."
Though rapid action, brilliant costumes, and, above all, the force and beauty of the lines, may lead us to forget
that the heroine is only a boy, it is more difficult to keep our attention from being distracted by the audience around us. It surprises us at the that there are so few women present. We notice, too, that many of those who have come wear a mask of silk or velvet over their faces. Evidently it is hardly the proper thing for a respectable woman to be seen in a public theatre. The people in the balconies are fairly orderly, but below in the pit the crowd is restless, noisy, and at times even boisterous. Bricklayers, dock-laborers, apprentices, serving-men, and idlers stand in jostling confusion. There are no police and no laws that are enforced. Pickpockets ply an active trade.
we see, has been caught and is bound to the railing at the
edge of the stage where he is an object of coarse jests and
ridicule. Refreshment-sellers push about in the throng
with apples and sausages, nuts and ale. There is much
eating and drinking and plenty of smoking. On the stage
the gallants are a constant source of bother to the players.
They interrupt the Prologue, criticise the dress of the
hero, banter the heroine, and joke with the clown.
Even here in the gallery we can hear their comments --
far from flattering -- upon a scene that does not please
them; when a little later they applaud, their praises are
just as vigorous. Once it seems as though the play is
going to be brought to a standstill by a wrangling quarrel
between one of these rakish gentlemen and a group of
groundlings near the stage. Their attention, however, is
taken by the entrance of the leading actor declaiming a
stirring passage, and their differences are soon forgotten.
It is, on the whole, a good-natured rough crowd of the
common people, the lower and middle classes from the
great city across the river, -- more like the crowd one sees
today at a circus or a professional ball-game than at a
theatre of the highest type. They loudly cheer the clown's
final song and dance, and then with laughter, shouting,
and jesting they pour out of the yard and in a moment
the building is empty. The play is over until tomorrow
What a contrast it all has been to a play in a theatre of the twentieth century! When we think of the uncomfortable benches, the flat bare earth of the pit, the lack of scenery, footlights, and drop curtains ; when we hear the
shrill voices of boys piping the women's parts, and see mist and rain falling on spectator's heads, we are inclined to pity the playgoer of Elizabethan times. Yet he needs no pity. To him the theatre of his day was sufficient.
The drama enacted there was a source of intense and genuine pleasure. His keen enthusiasm; his fresh, youthful eagerness; above all, his highly imaginative power, -- far greater than ours today, -- gave him an ability to understand and enjoy the poetry and dramatic force of Shakespeare's works, which we, with all the improvements of our palatial theatres, cannot equal. Crude, simple, coarse as they now seem to us, we can look back only with admiration upon the Swan and the Curtain and the Globe; for in them "The Merchant of Venice," "As You Like It,"
"Julius Caesar," "Hamlet," and "Macbeth" were received with acclamations of joy and wonder.
the genius of Shakespeare was recognized and given a
place in the drama of England which now, after three centuries have passed, it holds in the theatres and in the
literature of all the world.
How to cite this article:
Shakespeare, William. Julius Caesar. Ed. Samuel Thurber. Boston: Allyn and Bacon, 1919. Shakespeare Online. 15 Jan. 2014. < http://www.shakespeare-online.com/theatre/triptotheglobe.html >.
How to cite the sidebars:
Mabillard, Amanda. Shakespeare Trivia. Shakespeare Online. 10 Aug. 2013. < http://www.shakespeare-online.com/theatre/triptotheglobe.html >.
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The King of Shakespeare's Stage ... Richard Burbage is considered to be the first great actor of the English theatre. Legend tells us that a woman fell in love with Burbage when she saw him play Richard III and begged him to come to her chambers that night under the name of King Richard. But Shakespeare overheard the proposition and, as a joke, left the theatre early to take Burbage's place. Shakespeare was "at his game ere Burbage came. Then, message being brought that Richard III was at the door, Shakespeare caused return to be made that William the Conqueror was before Richard III." Read on...