The English Renaissance 1588-1629

The English Renaissance 1588-1629

Continues The Golden Age of Theatre Introduction - With the defeat of the Spanish Armada England is ready to move fully into the Renaissance.

They have, of course, been moving in this direction all along, but now we will now try to bring English theatre into focus. While the Spanish theatre comes out of the coherent world of the Spanish catholic, English theatre has more diverse roots. In addition to the classical literary heritage of Greece and Rome, the religious drama and various European theatrical efforts, the English also have a strong theatrical heritage from their folk drama.

[There is a certain problem in establishing accurate dates and references since there will be frequent recurrences of the plague (the Bubonic plague, of the type that caused the medieval "Black Death") and an extensive fire which burns much of London and most of the theatrical records. The worst plague year (1665) is followed by the fire (1666). This catastrophe does not occur for

a while yet, but it certainly affects the records available for this period.]

Background for English Theatre

FOLK DRAMA - The general background lies in centuries of folk drama which include the May Game (Robin

of the Wood, etc.); Song Dances (Here We Come Gathering Knots, where "knots" means a bunch of flowers); Sword Dances (which embodied the conflict of winter and spring); and, Morris Dances (sexy encounters); Mummers (which include historical-mythical enactments such as St. George and the Dragon which was played as late as 1863).

Another background is the civil pageantry found all over but especially in London. These roots are supplemented by the Renaissance learning evident in the early amateur playwrights of the universities and Inns of Court (lawyers and law students.)

BOY'S COMPANIES* - Entertainment for the court and the upper classes has been provided for centuries by the

companies of choirboys of the major churches: St. George's Chapel*, Windsor, Chapel Royal*, and St. Paul's*. These Boy's Companies* grew out of song and grammar schools attached to various cathedrals. When England began producing Miracle* plays the boys were given more acting activities. Their success is due to various Masters who expanded the activities of their groups. Since they were always expected to entertain the court and did not need to be commercially successful, these companies had an edge over the rising professional adult companies. The actual participants in these Boy's Companies were drawn from the schools and choirs, that is, not all choir boys were also actors. As the Elizabethan* period progresses patrons take on companies of boys and the number expands beyond those associated with the great cathedral schools.

ADULT COMPANIES - The professional companies of adult actors are under the patronage of peers and are known by

their titles (as in the Lord Chamberlain's Men) so it becomes very confusing when the actual their titles (as in the Lord Chamberlain's Men) so it becomes very confusing when the actual

INTERLUDERS - As the Medieval period blends into the Renaissance the main adult professional acting groups

are performing Interludes*. These actors are descendants of the minstrels of the fourteenth and fifteenth centuries. These guys had become a powerful trade union keeping free-lancers out. They did a little bit of everything; they were singers and instrumentalists, acrobats, jugglers and conjurers, impersonators and story-tellers. With the rise of the printing press their employment as story-tellers began to decline and the impersonator, or actor, part becomes more relevant. It is out of this talent pool that the early acting companies are formed. As early as 1482 at least two peers* have recorded troupes (Richard, Duke of Gloucester and the Earl of Essex.) This business of having a patron is necessary because there are a bunch of legal problems in being a "masterless" man. However, having professional acting companies doesn't do much good without really good plays, which brings us to the next component.

SCHOLAR DRAMATISTS - When the Italian research and publications reach the attention of the English academics they

start coming out with new kinds of plays. As we mentioned in passing the comedies Ralph Roister Doister* by Nicholas Udall* and Gammer Gurton's Needle* were written and performed in schools in the 1550's. These were followed by attempts at tragedy (Gorboduc*, for example) by law students, but that wasn't very popular. More popular are the Chronicle Plays* that come throughout the second half of the sixteenth century. Soon the rewards available to University writers from the theatre tempt more authors to try their luck at playwriting. Coming out of Cambridge and Oxford, five men in particular influence the great dramatists who will follow; these University writers are:

John Lyly* (c. 1553-1606) authors seven plays and a number of semi-dramatic court entertainments during the height of Elizabeth's* reign. Both as an author of how to do it (Euphues*) and by the example of his plays he pushes balance and clarity in the use of dialogue, strongly affecting Shakespeare.

Robert Greene* (c. 1560-92), a dramatist, poet, novelist and pamphleteer, he is versatile, prolific and fluent. Best known for George s Greene* (c. 1590), Orlando Furioso* (c. 1591) and Friar Bacon and Friar Bungay* (c. 1589), he wrote (or co-wrote) about fourteen plays ranging from comedy to pomp, carnage and hell-fire revivalism.

Thomas Lodge* (1567-1601) is mainly a collaborator on plays except for his own The Wounds of Civil War* (c. 1588) based on Roman sources and pointing out English parallels.

George Peele* (1558-1596) is also a versatile and prolific playwright and collaborator in at least seventeen plays and numerous entertainments. He helps write (with Greene and Lodge) early versions of plays that will later be developed by Shakespeare, especially The Troublesome Reign of King John* (c. 1588), The Taming of A Shrew* (c. 1589), King Leir* (c. 1590), and The True Tragedy of Richard III* (c. 1591.)

Thomas Nashe* (1567-1601) is mainly a battling journalist but collaborates with Marlowe* on two of his four plays as well as writing poems, satires and pamphlets.

Christopher Marlowe* (1564-93) is a man of outspoken opinions and an avowed atheist. Educated at Cambridge, Marlowe* may have seen military service in the Netherlands, certainly traveled abroad, may have been a government spy and died in a tavern brawl. During his short career he launches English tragedy.

MASTER OF REVELS* - Since Henry VIII* established a permanent office in 1545, the Master of Revels* has been in

charge of all pageantry and entertainment for the ruler. This grows to include storage and maintenance of costumes and properties as well as employment and supplies for the production of specific entertainment events. Detailed accounts are kept and these records provide a wealth of information about theatre in England. The Master of Revels* soon (in 1581) comes to be the official Censor of Plays. This means that all scripts must be submitted to him (for a fee) for his approval before the play can be performed anywhere in England. The censorship powers are part of the Crown's response to Puritan* objections and an effort to protect actors as well.

MASQUES* - By the time we reach the reign of Elizabeth I* the court fun and games of Mumming and

Disguising have become the Masque*. Essentially produced for a particular occasion and performed by amateurs, it is often accompanied by an ante-masque* (or anti-masque) done by professionals. The main emphasis is upon the scenic effects and costumes, with music, dance and recitation. As we get to the practitioners (Ben Jonson* and Inigo Jones*) who make it into an art, we will discuss it at greater length.

PERFORMANCE SPACES - Prior to the construction of the first theatre building (the Theatre* in 1576,) plays were

performed in public inn-yards and private halls. Inns in London which frequently have their yards converted for performing plays include the Red Lion*, the Bull*, the Bell Yard*, the Cross Keys* and the Bel Savage*. [The Boar's Head* may also have been an inn or it may have been a playhouse in Whitechapel outside the city.] Obviously these temporary quarters are inadequate for regular use but they have the advantage of being in the city. Another location in town, the Red Bull*, becomes known as a "drama house." Whether this is also an inn is unclear; it is used for performances in the seventeenth century.

Unlike the Italian and Spanish forms of government, the English are more democratic, at least in the sense that the sovereign does not have complete control. The nobility and especially the city of London have extensive powers. Ever since King John* was forced to sign the Magna Carta*, granting part of his authority to the Barons of England, there have been various power centers. The city of London has its own very strong power base in historical precedent and in the merchantile power of the major port and trade center of the island. The civic authorities in London are basically conservative, and sensitive to the right-wing moral objections of the Protestants, they are intolerant of play-acting and other entertainments and unlikely to Unlike the Italian and Spanish forms of government, the English are more democratic, at least in the sense that the sovereign does not have complete control. The nobility and especially the city of London have extensive powers. Ever since King John* was forced to sign the Magna Carta*, granting part of his authority to the Barons of England, there have been various power centers. The city of London has its own very strong power base in historical precedent and in the merchantile power of the major port and trade center of the island. The civic authorities in London are basically conservative, and sensitive to the right-wing moral objections of the Protestants, they are intolerant of play-acting and other entertainments and unlikely to

The location of the Theatre*, outside the gates, is on land that had been a Benedictine priory north of Bishops-gate entrance into the city. The following year (1577) a second playhouse (the Curtain*) opens close by the first. Others follow, some too far out to be successful, two (the Rose* in 1588 and the Swan* in 1596) go up on the south bank of the Thames. The best known playhouse, (to us) the Globe*, is constructed from the timbers of Theatre* in 1599. In the same year land is leased for the Fortune*. Later the Hope* (1614) goes up the year after the Globe is accidently burned. These playhouses are, like the Spanish corrales, without roofs for the audience in the "pit." The final step in English theatre buildings is seen in the various attempts to provide a playhouse with a roof. The Masters of Boy's Companies* are the first to achieve an indoor theatre by leasing two floors at Blackfriars* (another one-time monastary) and turning the upper floor into a "Private House" for performances. This is hardly necessary since the whole area of Blackfriars is a "liberty" within the city and the Lord Mayor has no authority there. James Burbage* acquires a lease for another part of Blackfriars*, then dies, and his sons inherit the first professional indoor theatre in England. It remains in use by various companies (and with some oppression from the city) as a "private" theatre until the general closing of theatres in 1642. Next comes a private theatre at Whitefriars* (1608) used by boy's companies. Salisbury Court* (1629) houses both boys and adult companies and the Cockpit* (or Phoenix*) (1616) which is adapted as a playhouse, wrecked and restored (hence the Phoenix* name) seems to be used exclusively by adult companies. These, then, comprise the playhouses that will provide the main locations for the Golden Age of English theatre.