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  1. Hey, I have to give an exam of MCQ pattern. In that exam Elizabethan theatre will also come, but only in factual form. Can you suggest me some article to gloss over the major terms and facts about Elizabethan Theatre?

  2. this is really helpful, we have to do an assignment where we make an activity for the whole class to do… any suggestions?

  3. Brilliant article – there was a link you put in your response to comments to a related article on this site on the Elizabethan acting style and it seems to have disappeared. Any chance you could repost?

  4. Is it really appropriate to be describing outfits 16/17 year olds are wearing as slutty. What makes an outfit constitute as slutty? And it isn’t appropriate for a male teacher to use that language on costuming for young girls.

    1. Mia, the characters Regan and Goneril from King Lear were described in the post as slutty and bitchy, not the student’s outfits. Nevertheless the costumes, along with make-up and hair, in the anti-authoritarian recontextualisation of the scene into the 1970s British punk era, were attempting to express these character attitudes. However, as this post was first written 7 years ago, and the event in question 15 years ago, things have definitively changed. So I have happily deleted “slutty” from the post.

    1. Emma, a monologue is a speech from a play where other characters are present on stage and hear everything that is said and see what is performed. The difference with a soliloquy is that other characters on stage are either out of earshot (even if seen by the audience, the impression is they did not hear the soliloquy) or do not exist at all during the “speech”. A soliloquy is inner thoughts spoken aloud (to one’s self).

  5. Hey Justin,

    Are there any physical conventions such as movement or gesture which were used in English renaissance theater?

  6. Was there any point where the actor would actually speak to the audience directly? For example like now a days one actor might ask the actor, Can you believe this guy? while the other actor is oblivious. Like that

  7. Hey Justin
    I was wondering what types of characters they had in the Elizabethan era theatre? Like protagonists and antagonists… Stuff like that!
    Thanks Jemma

    1. Jemma, every type of character you can imagine was right there on the Elizabethan stage. One only has to pick up any of Shakespeare’s works to see them. His tragedies were full of strong protagonists like Lear, Hamlet and Macbeth. But Elizabethan antagonists were just as exciting as characters, such as Hamlet’s Uncle Claudius, whom Hamlet suspects murdered his father. Here’s a nice article with images of some of Shakespeare’s best characters.

  8. Excellent summary! I have a question about whether the Bard ever used a stage hand or actor to walk across the stage with a sign saying, Brutus’s Orchard, or A Street Near the Capitol, or The Field of Battle at Philipi, which are directions from Julius Caesar. There are no dialogue words in those in those scenes to denote the specific setting. So how did he do it?

    1. Interesting question John. Shakespeare normally left clues in the spoken text for the audience to determine setting if it was not clear, however you have said this is not the case in this example.

  9. Help.(a)what are the Elizabethan Theatrical Convention employed in romeo and juliet? (B) how do these convention help in shaping the overall story of the film,esp. In the scene where mercucio dresses as a female?(c) how important is the role of mercucio in the story?

  10. Thanks for the valuable information, I am an English & Creative Writing Undergrad student at Murdoch University, this explanation of specific aspects has helped a great deal. hope to see more notes perhaps specific to certain Shakespearean texts. cheers

      1. Hi Justin, I am wondering if you have any information on comic conventions in Twelfth Night? I would be very interested to read your thoughts and gain better insight.

  11. thx for this. it really is a great site for students when our teachers dont teach it at all in this much depth.

  12. I came a little late to this party, looking for a discussion of the aside in stagecraft and found just what I was looking for here. But I *know* you didn’t mean to write “it was rough and rowdy instead of gentile.” The implications are either funny … or, well, not funny at all.

  13. This is really helpful. It is often so difficult to pin point exactly how to explain students how this style of theatre works and to give them other examples other than Shakespeare.