Shakespeare's Theater: The Globe Playhouse (1960)

[Music] London in 1600 an overcrowded city. Queen Elizabeth and her people loved all kinds of entertainment, especially [Music] plays. Although the public theaters had been forced out of London into outlying districts, this did not stop the people. 3 to 4,000 crossed the Tempame's River every afternoon just to enjoy themselves. Many stepped from the boats and hurried by the octagonal building known as the Globe Playhouse where William Shakespeare was part owner, actor, and leading playwright. This fluttering signal at top the Globe announced play this afternoon. Once inside, whether they were sitting in the roofed galleries or standing in the unroofed pit, the spectators saw a most unusual structure known as the tiring house. Here, lighted only by the afternoon sun, were seven different acting areas backed by property and dressing rooms. On the first level, the globe's largest stage known as the platform jutted out into the middle of the audience. Most of the play's action took place here. The platform could represent a street with a row of houses, or it became anything suggested by Shakespeare's words, a garden, battlefield, woods, or a sea coast. Here is how Shakespeare created the setting for a scene in 12th Night. What country, friends, is this? This is Yria lady. A curtained inner stage called the study was also used regularly with curtains open. The study normally resembled a room in the average Elizabethan house. But by merely changing the wall hangings or placing a property, this stage could indicate many different settings. a general's tent, friars's cell, a room in the tavern, or a cave. When the study was used alone, the actors stayed within its boundaries, and the platform was disregarded. Just as we today forget the orchestra pit or procia march once the play begins. Frequently these two acting areas were used together to represent one large interior such as a ballroom, senate chamber or throne room under the influence of study furniture such as a throne. The locality of the platform changed and the actors moved freely over the two stages. Sometimes the platform and study became an exterior connected with an interior. For example, the Verona graveyard with the Capulet burial vault in Romeo and Juliet or a battlefield and a general's tent. In Julius Caesar, for example, Casius and Brutus with their soldiers meet on the platform representing a camp near Sardis before the tent of Brutus. Before the eyes of both our armies here, which should perceive nothing but love from us, let us not wrangle. Bid them move away. Then in my tent, Casius, enlarge your griefs, and I will give you audience. There were four acting areas on the second level of the globe. This narrow balcony known as the terrace was rarely used alone. Probably this is where Pendaras climbed the hill to scan the battlefield of Philippi at the bidding of Casius standing on lower ground. Generally the terrace became absorbed as the chamber was revealed. This second level inner stage was used mainly for interior scenes and the ladies especially were at home here from the chamber. Lady McBth probably spoke her most secret thoughts to Shakespeare's audience. Comes that tend on mortal thoughts. Unseex me here and fill me from the crown to the toe top full of dyrus cruelty. Make thick my blood. Connected with the study by a backstage staircase. The chamber was often used as a second interior in the same house or castle. In the study, Hamlet probably came upon Claudius praying. And during a long siloquy, made the decision to kill his uncle at another time. As Hamlet left this room, the audience immediately saw Gertrude and Pelonius above in her room. Mother, mother, mother, withdraw. I hear him coming. Adjoining the chamber were two identical acting areas. The window stages used for scenes of fast, domestic intrigue, prison life or courtship. Usually the action took place between an actor in a window stage and another on the platform or in the chamber. More than one crisis in the story of Romeo and Juliet was enacted here. Imagine the excitement of Shakespeare's audience when Lady Capulet appeared in her daughter's chamber while Juliet in the window stage was still pulling up the rope ladder by which Romeo had just descended. On the third level we find the seventh stage called the music gallery. Occasionally actors appeared here when a play called for an extra height to create a tower or ship mast head. However, for Shakespeare's plays, the music gallery was used almost exclusively to house the musicians, and they were kept busy behind closed curtains, accompanying songs, dances, and processions, as well as interpreting such musical effects as flourishes and senates. [Music] In addition to the acting areas, the Globe Playhouse was filled from the tower holding the flag to the cellar underneath the platform with fixed scenery and stage machines to help make performances exciting, spectacular, and realistic. The most conspicuous features of the fixed scenery were the two large stage posts. They were frequently used by the actors as trees for hiding from each other, as posts upon which to tie victims, as well as ships masts or mapoles. Even the doorposts were called into use for hiding or eavesdropping. And at times an actor stepped under the terrace to keep from the sight of a character above. But what about the sudden appearance of ghosts, witches, and other unworldly characters? Trap doors were cut in the floors and ceilings of the larger stages. Through these the witches of McBth, Hamlet's father's ghost and other apparitions appeared, usually accompanied by smoke and [Music] thunder and [Music] disappeared. In the study floor was the grave trap where Hamlet no doubt stood while he recalled his old childhood friend. Alas, poor Yoro. I knew him, Horatio, a fellow of infinite jest, of most excellent fancy. He hath borne me on his back a thousand times. Sometimes spirits, gods, or goddesses suddenly dropped from above. and returned to the heavens through the trap in the stage cover. The huts or super structure on the fourth level held the machinery which raised and lowered actors and properties. From here too came most of the sound effects. In front stood the trumpeter who sounded thrice to open a play. Here the cannon was shot off during battle and coronation scenes. Here hung the great alarm bell used to make confusion more realistic. And here the heavy cannonball was rolled to make the thunder of Shakespeare's many fearful nights. This then is the theater for which Shakespeare wrote most of his plays. Its great flexibility made possible a scope and continuous sweep of action comparable to the motion picture of today. Three factors enable Shakespeare's audience to follow a play's action in the globe. The dialogue, the logical sequence of events, and the corresponding movement from one stage to another. The last few scenes of McBth illustrate these points very well. Near the end of act four, Malcolm and McDuff leave England headed for Scotland, determined to get revenge on McBth. Immediately, a doctor and gentle woman are revealed in a window stage where they remain throughout Lady McBth's famous sleepwalking scene in the chamber. As the chamber curtains close, a part of the Scottish army moving to join the English surges onto the platform which is localized by the dialogue. Near Burnham Wood shall we well meet them? That way are they coming. What does the tyrant great Duninine he strongly fortifies? Make our march towards Burnham. The army moves on as the chamber curtains open showing McBth and attendance in a room of his castle at Dansin. He knows now that an army of 10,000 is approaching. His wife is ill and his own men are deserting him. But McBth boasts. I will not be afraid of death and Bane till Burnham forest come to Dunzan. The chamber curtains close and the United Scottish and English forces under Malcolm McDuff pour onto the platform. Again, Shakespeare's words identify the setting. What wood is this before us? The wood of Burnham. Let every soldier he him down a bow and bear it before him. Thereby shall we shadow the numbers of our host and make discovery in report of us. McBth's pursuers march on, and again the pursued appears, still boasting. Hang out our banners on the outward walls. The cry is still they come. Our castle strength will laugh a siege to scorn. Wherefore was that cry? The queen, my lord, is dead. She should have died hereafter. There would have a time for such a word. Tomorrow and tomorrow and tomorrow creeps in this petty pace from day to day until the last syllable of recorded time. And all our yesterdays have lighted fools the way to dusty death. Out brief candle. Life's but a walking shadow. A poor player that struts and frets his hour upon the stage and then is heard no more. It is a tale told by an idiot, full of sound and fury, signifying nothing. Thou comest to use thy tongue, thy story quickly. As I did stand my watch upon the hill, I looked toward Burnham, and an non me thought the wood began to move. Arm, arm, and out. Ring the alarm bell. Blow, wind, come, rack. At least we'll die with harness on our back. Now Malcolm's forces collect before the castle, and McBth appears at the entrance. They have tied me to a stake. I cannot fly, but bearlike, I must fight the course. McBth meets his bitter enemy, Magdaf. As they leave the stage fighting, we hear McBth's final boast. lay on McDuff and damn be him that first cries hold enough to cover the time necessary for McBth's death off stage. Malccommeners and casualties are discussed until Mcduff appears above on the castle parapit with McBth's head on a pike. He greets Malcolm. Hail King, for so thou art. Behold, where stands the usurper's head. The time is free. Hail King of Scotland. King Malcolm then invites everyone to attend his coronation at school, and a flourish of music accompanies the procession to empty the stage. [Music] And the play is ended. at the Globe. [Music]