Elizabethan drama

Before enrolling in PERF 115, I never studied theatre in an academic setting. My high school was lucky to have an underfunded drama club, let alone credited classes on the subject. Honestly, I joined PPP simply because I wondered what the class would entail; I enjoy a few stage productions, but I am not as emotionally invested in theatre as my peers. I expected this course to cover the fundamentals and origins of theatre, but I feared that these origins would lie in the the Greek and Renaissance

The play Much Ado About Nothing was written and performed in the Elizabethan period. It was set in Italy in a place called Messina. As expected the play has an happy ending with a marriage, as it is an comedy, except throughout the play you think it may end as an tragedy with lots of talk of death and misery. The mood swings from light comedy to dark tragedy. The play appealed to the Elizabethans because it mirrored life of that time. The play includes love, status

The Elizabethan era ran from 1558–1603. The reason it is named Elizabethan is because Elizabeth I was on the English thrown at the time. The arts flourished under the control of Elizabeth I. The Queen was an excellent scholar and a keen supporter of all the arts including theatre. Her personal love for poetry, music and drama encouraged a period where it was fashionable for wealthy members of the public to support and appreciate the arts. Historians often think of the Elizabethan times as the golden

was created through having a trap door on stage and fire below to create smoke. Another special effect was having actor ‘fly’ in. This effect was created by having hanging ropes as they would hold on to the ropes and swing in. Later on in the Elizabethan era, the music was added to give special effects. Who went? Gentlemen had special rooms they could go in. These were for rich patrons and inside their were cushioned seats and time to smoke. But to enter it cost 4 pence. Women and their husbands

temperament, yellow bile to anger and ambition, phlegm to patience and thoughtfulness while black bile was linked to melancholic tendencies. The humoral theory held that one should strive for balance between the four humours. Playwrights during the Elizabethan era explored characters with imbalanced humours – Shakespeare presented the melancholy Ophelia in Hamlet, and the sanguine Juliet in Romeo and Juliet, the choleric Kate in Taming of the Shrew and phlegmatic Hermione in Winter’s

successful whilst still being true to the original text, combining parts of the Shakespearean script with an array of music, dance and movement resulting in the creation of a unique contemporary physical theatre. The elements of drama, along with conventions of both physical and Elizabethan theatre, were used by Frantic Assembly to create a contemporary play

Elizabethan Fashion The Elizabethan Era was a time that reflect the mood and values of the 16th century though the use of fashion. It was a period in which a lot of originality and creativity was evident was used to create new styles of dress (Black & Garland 16). The Fashion in Elizabethan England at this time reflected the values and Ideals of the era. It was

The prologues to the two parts of Tamburlaine are direct addresses to the audience. The first promises a new form of drama, elevated in tone and free from the devices and improvisations of professional actors, and the second proudly points to the great success which that new form had had with the first audience: The most obvious reason for the success of Tamburlaine was the surprise and delight with which Marlowe’s style was received, a style which has often been analysed, praised, and criticised

During the Elizabethan period, revenge tragedies were the leading form of drama commonly utilized by Shakespeare, despite the morals of the time renouncing it in essence. Because of the nature of revenge, it is often said that before embarking on this journey it is best to dig two graves; in Titus Andronicus, widely considered the bloodiest of Shakespeare’s revenge tragedies, this adage connects perfectly with the theme of the plots. Shakespeare unfolds a series of revenge that the play reads like

Revenge in Thomas Kyd's The Spanish Tragedy Thomas Kyd's The Spanish Tragedy (c. 1587) is generally considered the first of the English Renaissance "revenge-plays." A rich genre that includes, among others, Hamlet. These plays tend to be soaked in blood and steeped in madness. The genre is not original to the period, deriving from a revival of interest in the revenge tragedies of the Roman playwright Seneca. Nor is it exclusive to the past, as anyone who has seen the "Death Wish" or "Lethal Weapon"