- The Rose Theatre.
Tsubouchi Memorial Theatre Museum, Wasedu University, built after the Fortune
Reconstructing Shakespeare's second Globe using 'Computer Aided Design'
Globe and its modern replica: Virtual Reality modelling of the
archaeological and pictorial evidence. EMLS Special Issue 13.
Globe Theatre and Shakespeare, a convenient summary of many
facts and materials related to Shakespeare and the Globe, unfortunately
marred by obtrusive advertising.
Shakespeare's Theatre, part of the
Shakespeare in Quarto exhibit from the British Library, contains overviews on
playhouses (Globe, Fortune and Blackfriars
companies of players (Admiral's Men, Lord
Strange's Men, Lord Chamberlain's Men, King's
Men, and Pembroke's Men only), and
individual players (Alleyn, Armin, James
Burbage, Richard Burbage, Condell, Field, Goughe,
Heminge, Henslowe (to stretch a point), Kemp,
Lowin, Phillips, Pope, Sincklo, Sly and Taylor).
Elizabethan Theatre, part of the Encyclopaedia Britannica
Guide to Shakespeare,
with excellent illustrations and a map of Elizabethan theatre locations.
The www.Globe theatre - a
nice summary of the old and new Globe theatres, with useful links, some
of which are now dead.
For the drama, there are many excellent sources. F. E. Schelling's
Elizabethan Drama: 1558-1642,
and Vol. II,
1908, are available from Google Book Search in full view and PDF
|Excerpt from the travel journal of Thomas Platter, 1599 (see
On the 21St of September, after the mid-day
meal, about two o'clock, I and my company went over the water
[i.e. across the Thames] and saw in the house with the thatched
roof [in dem streuwinen Dachhaus] the tragedy of the first
Emperor Julius Caesar quite aptly performed. At the end of the
play according to their custom they danced quite exceedingly
finely, two got up in men's clothing and two in women's
[dancing] wonderfully together.
At another time, not far from our inn in the suburbs, at
Bishopsgate according to my memory, again after lunch, I saw a
play where they presented different nations with which each time
an Englishman struggled over a young woman, and overcame them
all, with the exception of the German who won the girl in a
struggle, sat down beside her, and drank himself tipsy with his
servant, so that the two were both drunk, and the servant threw
a shoe at his master's head, and both fell asleep. In the
meantime the Englishman crept into the tent, and carried off the
German's prize, and thus outwitted the German in turn. In
conclusion they danced in English and Irish fashion quite
skilfully. And so every day at two o'clock in the afternoon in
the city of London sometimes two sometimes three plays are given
in different places, which compete with each other and those
which perform best have the largest number of listeners. The
[playing places are so constructed that [the actors] play on a
raised scaffold, and everyone can see everything. However there
are different areas and galleries where one can sit more
comfortably and better, and where one accordingly pays more.
Thus whoever wants to stand below pays only one English penny,
but if he wishes to sit, he enters through another door where he
gives a further penny, but if he wants to sit in the most
comfortable place on a cushion, where he will not only see
everything but also be seen, he gives at another door a further
English penny. And during each play things to eat and drink are
brought round among the people, of which one may partake for
whatever one cares to pay.
The actors are dressed in a very expensive and splendid
fashion, since it is the custom in England when notable lords or
knights die they bequeath and leave their servants almost the
finest of their clothes which, because it is not fitting for
them to wear such clothes, they offer [them] for purchase to the
actors for a small sum of money.
How much time they can happily spend each day at the play,
everyone knows who has seen them act or perform.
["The transcription of the original German given here is
taken from E.K. Chambers, The Elizabethan Stage, II, PP.
364-5. A less literal translation than the one offered here may
be found in Peter Razzell, The Journals of Two Travellers in
Elizabethan and Early Stuart England: Thomas Platter and Horatio
Busino (London, 1995), PP. 166-7."]
Ever since, Platter's casual
comments, (and indeed he had more to say about Elizabethan
Appendix II to "Building
a Piece of History: The Story of the New Globe Theatre" by
Zachary T. Oser, for an expanded quote, taken from Chambers), have
Shakespeare and the Modern Stage, With Other Essays. New
York: C. Scribner's Sons, 1906, from Google Book Search, full view
and PDF, 251 pages.
Shakespeare and the Liberties by Steven Mullaney in The
Encyclopaedia Britannica's Guide to Shakespeare.
Chambers, E. K.
Notes on the
History of the Revels Office Under the Tudors, A. H. Bullen,
1906, from Google Book Search, full view and PDF, 80 pages.
Gildersleeve, V. C.
Regulation of Elizabethan Drama, Columbia University Press,
1908, from Google Book Search, full view and PDF, 259 pages.
Adams, Joseph Quincy.
Shakespearean Playhouses; A History of English Theatres from the
Beginnings to the Restoration. Boston: Houghton Mifflin
Co, 1917; from Google Book Search, full view and PDF. The
work is also available from the Internet Archive.
Diary, ed. W. W. Greg, A. H. Bullen, 1904. This is the
most important textual artifact on plays, players and play houses to
survive from the Elizabethan and Jacobean eras, and is available in
full-text and PDF formats from Google Book Search.
Henslowe's Diary, Part II, Commentary, by Walter W. Greg, A.
H. Bullen, 1908, from Google Book Search, full view and PDF, 400
Chambers, E. K.
The Mediaeval Stage Vol I (1903), from Internet Archive.
Chambers, E. K.
The Mediaeval Stage Vol II (1903), from Internet Archive.
Chambers, E. K.
The English-Folk Play (1933), from Internet Archive.
Thorndike, A. H.
Shakespeare's Theatre, 1916, from Google Book Search, full
view and PDF.