The Globe The history and the structure of this theatre.
The history of the Globe The Globe Theatre was constructed in 1599, out of timber taken from the Theatre. It stood next to the Rose, on the south side of the Thames, and was the most elaborate and attractive theatre yet built. The Globe was designed and constructed for the Chamberlain's Men by Cuthbert Burbage, son of the Theatre's creator, James Burbage. The lease for the land on which the Globe stood was co-owned by Burbage and his brother Robert, and by a group of five actors -- Will Kempe, Augustine Phillips, John Heminge, Thomas Pope, and William Shakespeare. Much of Shakespeare's wealth came from his holdings in the Globe.
The Globe was the primary home of Shakespeare's acting company beginning in late 1599, and it is a possibility that As You Like It was written especially for the occasion. On June 29, 1613, during a performance of Henry VIII , a misfired canon ball set the Globe's thatched roof on fire and the whole theatre was consumed. 1614 Swift reconstruction did take place and the Globe reopened to the public within a year, with the addition of a tiled roof.
The new Globe theatre lasted until 1644, at which time it was demolished, and housing was quickly built where it once stood. Recent attempts have been made to re-create the Globe, and replicas have been built in Tokyo and in London. The exterior appearance of the Globe can only be pieced together from sketches of the theatre found in sweeping Elizabethan city scenes, and the interior appearance from the drawing of the Swan Theatre. From these images we can describe the Globe as a hexagonal structure with an inner court about 55 feet across. It was three-stories high and had no roof. The open courtyard and three semicircular galleries could together hold more than 1,500 people. The Outside of the Globe
The Globe Theatre - the Productions Special effects at the Globe were also a spectacular addition at the theatre allowing for smoke effects, the firing of a real canon, fireworks (for dramatic battle scenes) and spectacular 'flying' entrances from the rigging in the 'heavens'. The stage floor had trap-doors allowing for additional surprising incidents. Music was another addition to the Globe productions. It was no wonder that the Globe Theatre and this form of Elizabethan entertainment was so popular. The sight of Shakespearean actors apparently flying must have been quite amazing to the discerning Elizabethan Theatre audiences.
The 'Box Office' Globe audiences had to put one penny in a box by the door which would pay for a view of the play by standing on the ground, in front of the stage. To sit on the first gallery would cost another penny in the box which was held by a collector on the front of the stairs. To sit on the second gallery, you put another penny in the box held by the man at the second flight of stairs. Then when the show started, the men went and put the boxes in a room backstage - the Elizabethan box office. Profits there were shared between members of the Globe
Summary of the plot or story Shakespeare loved to use the device of mistaken identity, and nowhere does he use this convention more skilfully than in Twelfth Night. Viola, surviving a shipwreck, walks ashore at Illyria, and immediately embarks on a gambit to allow her to make her way in a world of men. Dressed as a man, Viola, now Cesario, insinuates herself into the service of the Duke of Illyria, Orsino. Orsino longs for the love of a neighbouring countess, Olivia , who as she is in mourning for the death of her brother, repels his advances. When Cesario (Viola) undertakes Orsino's bidding and gains admittance to Olivia’ chamber, she becomes infatuated with the messenger.
Viola (Cesario) then falls in love with Orsino. To add to the farce Viola's (Cesario) identical twin, Sebastian arrives on the scene. Sebastian has also survived the shipwreck, although Viola thinks he has drowned. Sebastian has been rescued by a sea captain, Antonio. But Sebastian is sad, for he believes his twin sister has drowned. The kindly Antonio gives him money to get along in Illyria but remains behind for the time being because the Illyrians think he is a pirate.
Living in Olivia’s household is her uncle, Sir Toby Belch, a merry character. Belch pretends to promote Sir Andrew Aguecheek as Olivia’s rightful suitor. Belch just wants to use Aguecheeck' money. The steward of the household is the conceited Malvolio. Late one night Belch, Aguecheek and Olivia’s jester, Feste, are drinking and singing as they often do. Olivia's handmaiden, Maria tries to quieten them but they take no notice. Malvolio catches them and blames Maria for allowing them to behave so badly in Olivia's house.
Maria and the others plan to gets their own back by forging a love letter from Olivia to Malvolio. More confusion ensues with jealousy, mistaken Identity and fights and duels. Sebastian and Olivia fall in love and marry. Orsino realises that it is Viola that he loves and she agrees to marry him. Sir Toby Belch and Maria also decide to marry! Twelfth Night ends and everyone, except Malvolio, is happy and Shakespeare speaks of the madness of love.
Information provided about the Twelfth Night play William Shakespeare never published any of his plays and therefore none of the original manuscripts have survived. Eighteen unauthorised versions of his plays were, however, published during his lifetime in quarto editions by unscrupulous publishers (there were no copyright laws protecting Shakespeare and his works during the Elizabethan era). A collection of his works did not appear until 1623. Some dates are therefore approximate other dates are substantiated by historical events, records of performances and the dates plays appeared in print.
Date first performed The first recorded production of Twelfth night February 2 1602. In the Elizabethan era there was a huge demand for new entertainment and Twelfth Night would have been produced immediately following the completion of the play. Date first printed It is believed that Twelfth Night was first printed in 1623 in the First Folio. As William Shakespeare clearly did not want his work published details of the play would have therefore been noted, and often pirated without his consent, following a performance.