English Renaissance

The Globe- Where Shakespeare's later plays were produced. Burned down in 1613.

The Theatre (1576)- Because the London City Fathers opposed theatre, The Theatre was built north of the city boundaries. Owned by Richard Burbage's father. The Lord Chamberlain's Men performed here.

Lord Chamberlain’s Men- London’s leading troupe that Shakespeare was a part of (acted in and wrote most of the plays), latter known as King’s men. It was formed under the protection of the Henry Carey the lord chamberlain when the theatres reopened after the plague.

The University Wits- University graduates and professional dramatists who wrote plays based on Roman models but incorporating some medieval elements.

John Fletcher- a playwright that collaborated with Francis Beaumont wrote plays with tragedy qualities but with a happy ending. Worked with Shakespeare to write Two Noble Kinsmen and Henry VIII. After Shakespeare’s retirement he became the chief dramatist for the King’s Men.

Robert Green-a university wit and wrote based on Roman models. One of the playwrights that paved the way for Shakespeare and his contemporaries.

Christopher Marlowe- most famous university wit, set the standard for dramatic structure and contributed a gallery of interesting characters to English theatre. Focused on dramatic poetry and good versus evil which he used in Doctor Faustus. Wrote for production not publication.

Doctor Faustus- explores the tragedy of the damnation of a human soul. Written by Marlowe.

Thomas Kyd- wrote the Spanish Tragedy and a university wit

The Spanish Tragedy- an important forerunner of later plays in more ways than one. Skillfully incorporated a number of devices that had come to the forefront during the sixteenth century such as episodic structure, ghosts, soliloquies and the theme of revenge.

Richard Burbage-son of James, the great actor in Shakespeare’s plays

Ben Jonson- adept at comedy, one of the 1st writers in England to champion the neoclassical principals. Developed a comedy of humors. Also was a court poet.

Volpone-comedy where Volpone dupes old men out of their riches by pretending that he is at death’s door

Inigo Jones-court architect and designer for James and Charles and brought Italian innovations in scene design to England. He introduced methods of staging that were to become standard after the Restoration. Influenced by the work of Giuilo Parigi.

James Burbage-father of Richard and operated the outdoor playhouse called the Red Lion

Francis Beaumont-wrote plays with tragedy qualities but with a happy ending, and collaborated with John Fletcher. A university wit. Got married, this ended the partnership of Beaumont and Fletcher.

Philaster- Written by Beaumont (and Fletcher) tragicomedy (serious themes with a happy ending)

Heavens: also called shadows. In the English Renaissance, a roof protecting the stage of a public theatre, often painted on the underside to represent the heavens literally.

The Second Blackfriars: In 1608 the second Blackfriars was leased by the King's Men through a syndicate consisting of the Burbage brothers, Shakespeare, John Heminge and Henry Condell (the two actors who produced the First Folio). William Sly and Thomas Evans. Athough, like the earlier Blackfriars theatre, it was technically within the city, the area was a "liberty," not under the jurisdiction of the puritanical city authorities

Iambic Pentameter: a verse that has five beats to a line with two syllables to each beat and the accent on the second beat - a technique used frequently by Marlowe and Shakespeare. pg 182

Spoken Decor: one of the ways used to suggest a rapid scene change - characters in the plays would describe the settings, indicating that they were in a castle, a forest, or a bedroom - this is a practical reason for Shakespeare's lengthy poetic descriptions of locales in his plays.

The master of revels: auditioned acting troupes, selected the plays they would perform, and controlled the scenery and costumes to be used in each production. During the reign of James I, the Master of Revels reached the apex of his power and had complete authority over both the production and the publication of plays.