Newark post. (Newark, Del.) 1910-1969, 1916-04-19
The Stage of Shakspere
GEORGE ELLIOTT BUTTON
Assistant Professor of English, Delaware COLLEGE

nected with Shakspere and his
time. The first appeared last
week.
The Theatres
The theatres of Shakspere's
time, most of which were across
the Thames from the "City Prop
err" were either round or octag-
onal in shape and, with a few ex-
ceptions, open to the sky. The
form of the building was an evo-
luton of the inn yard, in which
plays were originally presented
by strolling players. When a
performance was to be given in
the yard of the inn (the inns
were as a rule built around three
sides of an open courD, plat
form was hastily set up at the
enclosed end Of the yard to serve
as a stage. The windows and
doors at this end of the yard
could thus be used for exits and
entrances, and the balcony open
ing out of the second-story win
dows could be used by characters
who were supposed to overhear
plots, conversations, etc, of the
characters on the stage. The
rooms having windows on the
other two sides of the building
facing the yard were the ere
served seats" The "boxes" of
the modern theatre had their be-
ginning in these rooms with
their window seats.
In Shakspere's time, in addi-
ton to the "boxes" and the "pit"
corresponding to our "dress cir
cle," but containing the lowest
priced seats in the house,, there
was a balcony or gallery. No
seats wee reserved ty the man
agement; and mobiles and others
who wanted good places sent
their servants at an early hour to
occupy seats until they them
selves should arrive just before
the performance. When the SER
wants had fulfilled their duty,
they retired to the gallery to
watch the play. In time they
came to be known as gods" and
the gallery as "Olympus." We
still speak of the gallery god"
Moreover, some of the men
about town" sat upon the stage;
but owing to frequent Interrupt
tions caused by fights between
these young bloods and the ac-
tors, the custom had to be dis
continued.
Practically no women attended
the performances in the public
theatres in Shakspere's time, and
those who did go wore masks to
conceal their identity. This fact
accounts for much of the coarse
ness Of the Elizabethan plays,
although it must be kept in mind
that the spirit Of the age was a
far cry from that of the Puritan
age which followed.
The stage Of the Elizabethan
theatre (once the platform of the
inn yard) was not removed from
the audience, as it is today, but
extended comparatively far out
into the pit" It is probable that
the scenery was for the most part
rather crude in the public
theatres, although it was mag
nificent at the court presenta-
tions of Mosques and plays. Stage
directions of plays refer to
painted cloths" which were
very likely curtains that could be
drawn aside. 1t is almost GER
tain, however, that there were in
geniOus contrivances for hand
ling heavy stage machinery. In
one play there is direction
which seems to indicate that an
immense wooden "horse of Troy"
was moved upon the stage during
a performance.
1t might be we'll to explain at
this point that Shakspere's plays
were not divided into scenes dur
ing his lifetime. When charac-
ters had finished their parts, they
left the stage by an exit and
other characters came on through
an entrance at another part of the
stage. This fact accounts for
Shakspere's opening most of his
scenes in the midst Of converse
tlon-the playwright gained an
effect of naturalness by having
his characters talking as they
came upon the stage.
The properties" were kept in
a room over the stage known as
the heavens " And during a per-