By G. K. Hunter
Shakespeare is generally set except his contemporaries, in style at least caliber. This publication, the long-awaited ultimate quantity within the Oxford historical past of English Literature, sees Elizabethan drama as drawn jointly by means of a shared have to care for contradictory pressures from heterogeneous audiences, censorious specialists, revenue pushed managers, and authors searching for vintage prestige and social esteem. Hunter follows the compromises and contradictions of the Elizabethan repertory, reading how Shakespeare and his fellow dramatists have been in a position to circulate simply from vulgar realism to poetic transcendence.
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Additional info for English Drama 1586-1642: The Age of Shakespeare
We can notice, especially in comedy, the increasing sophistication of the society depicted, and also the apparent weariness of a movement whose major triumphs belong to the past. But it is merely a historical accident that the innovations of Shirley or Brome are cut off in 1642. Because we cannot tell what would have come next, we tend to suppose that they stand at an artistic dead end. But if the theatres had stayed open for the next fifteen years, we might well think of them primarily as 'innovators' or 'precursors'.
12Seeibid. and Berry, Boar's Head. Plays had been performed at the Boar's Head, presumably on temporary scaffolds, as early as 1557. ) argues for Derby's Men. 14Chambers, iv. 335. 9Ingram (Business, 108) points out that the Red Lion Inn was earlier called the Red Lion farm. So perhaps it was not a converted inn. The site of the playhouse was, however, a 'courtyard'; the carpenter built 'scaffolds', but it is not clear if these refer to stage structure or seating. -9- 'music room'). Underneath the gallery there were two or three doors giving passage onto the stage from the 'tiring house' -- dressing room and prop store.
B. Graves, "'Daylight in the Elizabethan Private Theatres'", Sh. Q. 33 ( 1982), 80-92. 19See Hillebrand, 155-7; W. A. Armstrong, Elizabethan Private Theatres, Facts and Problems( London, 1958), 2-3. 20But seethe protest of 1618-19, printed in Bentley, JCS vi. 18, alleging that 'under the name of a private house' the players 'convert the said house to a public playhouse'. 21See Gurr, Shakespearian Stage, 196. -10- The financial lesson of the Blackfriars was not lost on other theatre entrepreneurs.