Shakespeare in performance

Numerous performances of William Shakespeare's plays have occurred since the end of the 16th century. While Shakespeare was alive, many of his greatest plays were performed by the Lord Chamberlain's Men and King's Men acting companies at the Globe and Blackfriars Theatres. [Editor's Preface to "A Midsummer Night's Dream" by William Shakespeare, Simon and Schuster, 2004, page xl] [Foakes, 6.
• Nagler, A.M (1958). "Shakespeare's Stage". New Haven, CT: Yale University Press, 7. ISBN 0300026897.
• Shapiro, 131–2.] Among the actors of these original performances were Richard Burbage (who played the title role in the first performances of "Hamlet", "Othello", "Richard III" and "King Lear"), [Ringler, William jr. "Shakespeare and His Actors: Some Remarks on King Lear" from "Lear from Study to Stage: Essays in Criticism" edited by James Ogden and Arthur Hawley Scouten, Fairleigh Dickinson Univ Press, 1997, page 127.] Richard Cowley, and William Kempe.

Shakespeare's plays continued to be staged after his death until the Interregnum (1642–1660), when most public stage performances were banned by the Puritan rulers. After the English Restoration, Shakespeare's plays were performed in playhouses, with elaborate scenery, and staged with music, dancing, thunder, lightning, wave machines, and fireworks. During this time the texts were "reformed" and "improved" for the stage, an undertaking which has seemed shockingly disrespectful to posterity.

Victorian productions of Shakespeare often sought pictorial effects in "authentic" historical costumes and sets. The staging of the reported sea fights and barge scene in " Antony and Cleopatra" was one spectacular example. [Halpern (1997). "Shakespeare Among the Moderns". New York: Cornell University Press, 64. ISBN 0801484189.] Such elaborate scenery for the frequently-changing locations in Shakespeare's plays often led to a loss of pace. Towards the end of the 19th century, William Poel led a reaction against this heavy style. In a series of "Elizabethan" productions on a thrust stage, he paid fresh attention to the structure of the drama. In the early twentieth century, Harley Granville-Barker directed quarto and folio texts with few cuts, [Griffiths, Trevor R (ed.) (1996). "A Midsummer's Night's Dream". William Shakespeare. Cambridge: Cambridge University Press; Introduction, 2, 38–39. ISBN 0521575656.
• Halpern, 64.] while Edward Gordon Craig and others called for abstract staging. Both approaches have influenced the variety of Shakespearean production styles seen today. [Bristol, Michael, and Kathleen McLuskie (eds.). "Shakespeare and Modern Theatre: The Performance of Modernity." London; New York: Routledge; Introduction, 5–6. ISBN 0415219841.]

Performances during Shakespeare's lifetime

The troupe for which Shakespeare wrote his earliest plays is not known with certainty; the title page of the 1594 edition of "Titus Andronicus" reveals that it had been acted by three different companies. [Wells, "Oxford Shakespeare", xx.] After the plagues of 1592–3, Shakespeare's plays were performed by the Lord Chamberlain's Men, a new company of which Shakespeare was a founding member, at The Theatre and the Curtain in Shoreditch, north of the Thames. [Wells, "Oxford Shakespeare", xxi.] Londoners flocked there to see the first part of "Henry IV", Leonard Digges recalling, "Let but Falstaff come, Hal, Poins, the rest...and you scarce shall have a room". [Shapiro, 16.] When landlord of the Theatre announced that he would not renew the company's lease, they pulled the playhouse down and used the timbers to construct the Globe Theatre, the first London playhouse built by actors for actors, on the south bank of the Thames at Southwark. [Foakes, R. A. (1990). "Playhouses and Players". In "The Cambridge Companion to English Renaissance Drama". A. R. Braunmuller and Michael Hattaway (eds.). Cambridge: Cambridge University Press, 6. ISBN 0521386624.
• Shapiro, 125–31.] The Globe opened in autumn 1599, with "Julius Caesar" one of the first plays staged. Most of Shakespeare's greatest post-1599 plays were written for the Globe, including "Hamlet", "Othello" and "King Lear". [Foakes, 6.
• Nagler, A.M (1958). "Shakespeare's Stage". New Haven, CT: Yale University Press, 7. ISBN 0300026897.
• Shapiro, 131–2.]

The Globe, like London's other open-roofed public theatres, employed a thrust-stage, covered by a cloth canopy. A two-story facade at the rear of the stage hid the tiring house and, through windows near the top of the facade, opportunities for balcony scenes such as the one in "Romeo and Juliet". Doors at the bottom of the facade may have been used for discovery scenes like that at the end of "The Tempest". A trap door in the stage itself could be used for stage business, like some of that involving the ghost in "Hamlet". This trapdoor area was called "hell", as the canopy above was called "heaven."

Less is known about other features of staging and production. Stage props seem to have been minimal, although costuming was as elaborate as was feasible. The "two hours' traffic" mentioned in the prologue to "Romeo and Juliet" was not fanciful; the city government's hostility meant that performances were officially limited to that length of time. Though it is not known how seriously companies took such injunctions, it seems likely either that plays were performed at near-breakneck speed or that the play-texts now extant were cut for performance, or both.

The other main theatre where Shakespeare's original plays were performed was the second Blackfriars Theatre, an indoor theatre built by James Burbage, father of Richard Burbage, and impresario of the Lord Chamberlain's Men. However, neighborhood protests kept Burbage from using the theater for the Lord Chamberlain's Men performances for a number of years. Finally, in 1608 the King's Men (as the company was then known) took possession of the theatre. Thereafter the King's Men played in Blackfriars for the seven months in winter, and at the Globe during the summer.

After the Lord Chamberlain's Men were renamed the King's Men in 1603, they entered a special relationship with the new court of King James. Performance records are patchy, but it is known that the King's Men performed seven of Shakespeare's plays at court between 1 November 1604 and 31 October 1605, including two performances of "The Merchant of Venice". [Wells, "Oxford Shakespeare", xxii.] After 1608, the troupe performed at the indoor Blackfriars Theatre during the winter and the Globe during the summer. [Foakes, 33.] The indoor setting, combined with the Jacobean vogue for lavishly staged masques, created new conditions for performance which enabled Shakespeare to introduce more elaborate stage devices. In "Cymbeline", for example, Jupiter descends "in thunder and lightning, sitting upon an eagle: he throws a thunderbolt. The ghosts fall on their knees." [Ackroyd, 454.
• Holland, Peter (ed.) (2000). "Cymbeline". London: Penguin; Introduction, xli. ISBN 0140714723.] Plays produced at the indoor theater presumably also made greater use of sound effects and music.

On June 29, 1613, the Globe Theatre went up in flames during a performance of "Henry the Eighth". A theatrical cannon, set off during the performance, misfired, igniting the wooden beams and thatching. According to one of the few surviving documents of the event, no one was hurt except a man who put out his burning breeches with a bottle of ale. [ [http://www.william-shakespeare.org.uk/globe-theatre-fire.htm Globe Theatre Fire] .] The event pinpoints the date of a Shakespeare play with rare precision. Sir Henry Wotton recorded that the play "was set forth with many extraordinary circumstances of pomp and ceremony". [Wells, "Oxford Shakespeare", 1247.] The theatre was rebuilt but, like all the other theatres in London, the Globe was closed down by the Puritans in 1642.

The actors in Shakespeare's company included Richard Burbage, Will Kempe, Henry Condell and John Heminges. Burbage played the leading role in the first performances of many of Shakespeare's plays, including "Richard III", "Hamlet", "Othello", and "King Lear". [Ringler, William Jr. (1997)."Shakespeare and His Actors: Some Remarks on King Lear". In "Lear from Study to Stage: Essays in Criticism". James Ogden and Arthur Hawley Scouten (eds.). New Jersey: Fairleigh Dickinson University Press, 127. ISBN 083863690X.] The popular comic actor Will Kempe played Peter in "Romeo and Juliet" and Dogberry in "Much Ado About Nothing", among other parts. He was replaced around the turn of the sixteenth century by Robert Armin, who played roles such as Touchstone in "As You Like It" and the fool in "King Lear". [Chambers, Vol 1: 341.
• Shapiro, 247–9.] Little is certainly known about acting styles. Critics praised the best actors for their naturalness. Scorn was heaped on ranters and on those who "tore a passion to tatters", as Hamlet has it. Also with Hamlet, playwrights complain of clowns who improvise on stage (modern critics often blame Kemp in particular in this regard). In the older tradition of comedy which reached its apex with Richard Tarlton, clowns, often the main draw of a troupe, were responsible for creating comic by-play. By the Jacobean era, that type of humor had been supplanted by verbal wit.

Interregnum and Restoration performances

Shakespeare's plays continued to be staged after his death until the Interregnum (1642–1660), when most public stage performances were banned by the Puritan rulers. While denied the use of the stage, costumes and scenery, actors still managed to ply their trade by performing "drolls" or short pieces of larger plays that usually ended with some type of jig. Shakespeare was among the many playwrights whose works were plundered for these scenes. Among the drolls taken from Shakespeare were "Bottom the Weaver" (Bottom's scenes from "A Midsummer Night's Dream") [Nettleton, 16.] and "The Grave-makers" (the gravedigger's scene from "Hamlet". [Arrowsmith, 72.]

At the Restoration in 1660, Shakespeare's plays were divided between the two newly-licensed companies: the King's Company of Thomas Killigrew and the Duke's Men of William Davenant. The licensing system prevailed for two centuries; from 1660 to 1843, only two main companies regularly presented Shakespeare in London. Davenant, who had known early-Stuart actors such as John Lowin and Joseph Taylor, was the main figure establishing some continuity with earlier traditions; his advice to his actors are thus of interest as possible reflections of original practices.

On the whole, though, innovation was the order of the day for Restoration companies. John Downes reports that the King's Men initially included some Caroline actors; however, the forced break of the Interregnum divided both companies from the past. Restoration actors performed on proscenium stages, often in the evening, between six and nine. Set-design and props became more elaborate and variable. Perhaps most noticeably, boy players were replaced by actresses. The audiences of comparatively expensive indoor theaters were richer, better educated, and more homogeneous than the diverse, often unruly crowds at the Globe. Davenant's company began at the Salisbury Court Theatre, then moved to the theater at Lincoln's Inn Fields, and finally settled in the Dorset Garden Theatre. Killigrew began at Gibbon's Tennis Court before settling into Christopher Wren's new theatre in Drury Lane. Patrons of both companies expected fare quite different from what had pleased Elizabethans. For tragedy, their tastes ran to heroic drama; for comedy, to the comedy of manners. Though they liked Shakespeare, they seem to have wished his plays to conform to these preferences.

Restoration writers obliged them by adapting Shakespeare's plays freely. Writers such as William Davenant and Nahum Tate rewrote some of Shakespeare's plays to suit the tastes of the day, which favoured the courtly comedy of Beaumont and Fletcher and the neo-classical rules of drama. [Murray, Barbara A (2001). "Restoration Shakespeare: Viewing the Voice". New Jersey: Fairleigh Dickinson University Press, 50. ISBN 0838639186.
• Griswold, Wendy (1986). "Renaissance Revivals: City Comedy and Revenge Tragedy in the London Theatre, 1576-1980." Chicago: University of Chicago Press, 115. ISBN 0226309231.] In 1681, Tate provided "The History of King Lear", a modified version of Shakespeare's original tragedy with a happy ending. According to Stanley Wells, Tate's version "supplanted Shakespeare's play in every performance given from 1681 to 1838," [Stanley Wells, "Introduction" from "King Lear", Oxford University Press, 2000, p. 63.] when William Charles Macready played Lear from a shortened and rearranged version of Shakespeare's text. [Wells, p. 69.] "Twas my good fortune", Tate said, "to light on one expedient to rectify what was wanting in the regularity and probability of the tale, which was to run through the whole a love betwixt Edgar and Cordelia that never changed words with each other in the original". [From Tate's dedication to "The History of King Lear". Quoted by Peter Womack (2002). "Secularizing "King Lear": Shakespeare, Tate and the Sacred." In "Shakespeare Survey 55: King Lear and its Afterlife". Peter Holland (ed.). Cambridge: Cambridge University Press, 98. ISBN 0521815878.]

Tate's "Lear" remains famous as an example of an ill-conceived adaptation arising from insensitivity to Shakespeare's tragic vision. Tate's genius was not in language - many of his interpolated lines don't even scan - but in structure; his Lear begins brilliantly with the Edmund the Bastard's first attention-grabbing speech, and ends with Lear's heroic saving of Cordelia in the prison and a restoration of justice to the throne. Tate's worldview, and that of the theatrical world that embraced (and demanded) his "happy ending" versions of the Bard's tragic works (such as "King Lear" and "Romeo and Juliet") for over a century, arose from a profoundly different sense of morality in society and of the role that theatre and art should play within that society. Tate's versions of Shakespeare see the responsibility of theatre as a transformative agent for positive change through holding by holding a moral mirror up to our baser instincts. Tate's versions of what we now consider some of the Bard's greatest works dominated the stage throughout the 18th century precisely because the Ages of Enlightenment and Reason found Shakespeare's "tragic vision" immoral, and his tragic works unstageable. Tate is seldom performed today, though in 1985, the Riverside Shakespeare Company mounted a successful production of "The History of King Lear" at The Shakespeare Center, heralded by some as a "Lear for the Age of Ronald Reagan.". [See Riversides Shakespeare Company.]

Perhaps a more typical example of the purpose of Restoration revisions is Davenant's "The Law Against Lovers", a 1662 comedy combining the main plot of "Measure for Measure" with subplot of "Much Ado About Nothing". The result is a snapshot of Restoration comic tastes. Beatrice and Benedick are brought in to parallel Claudio and Juliet; the emphasis throughout is on witty conversation, and Shakespeare's thematic focus on lust is steadily downplayed. The play ends with three marriages: Benedick's to Beatrice, Claudio's to Juliet, and Isabella's to an Angelo whose attempt on Isabella's virtue was a ploy. Davenant wrote many of the bridging scenes and recast much of Shakespeare's verse as heroic couplets.

A final feature of Restoration stagecraft impacted productions of Shakespeare. The taste for opera that the exiles had developed in France made its mark on Shakespeare as well. Davenant and John Dryden worked "The Tempest" into an opera, "The Enchanted Island"; their work featured a sister for Miranda, a man, Hippolito, who has never seen a woman, and another paired marriage at the end. It also featured many songs, a spectacular shipwreck scene, and a masque of flying cupids. Other of Shakespeare's works given operatic treatment included "A Midsummer Night's Dream" (as "The Fairy Princess" in 1692) and Charles Gildon's "Measure for Measure" (by way of an elaborate masque.)

However ill-guided such revisions may seem now, they made sense to the period's dramatists and audiences. The dramatists approached Shakespeare not as bardolators, but as theater professionals. Unlike Beaumont and Fletcher, whose "plays are now the most pleasant and frequent entertainments of the stage", according to Dryden in 1668, "two of theirs being acted through the year for one of Shakespeare's or Jonson's". [Dryden, "Essay of Dramatick Poesie", "The Critical and Miscellaneous Prose Works of John Dryden", Edmond Malone, ed. (London: Baldwin, 1800): 101.] , Shakespeare appeared to them to have become dated. Yet almost universally, they saw him as worth updating. Though most of these revised pieces failed on stage, many remained current on stage for decades; Thomas Otway's Roman adaptation of "Romeo and Juliet", for example, seems to have driven Shakespeare's original from the stage between 1680 and 1744. It was in large part the revised Shakespeare that took the lead place in the repertory in the early 18th century, while Beaumont and Fletcher's share steadily declined. [Sprague, 121.]

18th century

The eighteenth century witnessed three major changes in the production of Shakespeare's plays. In England, the development of the star system transformed both acting and production; at the end of the century, the Romantic revolution touched acting as it touched all the arts. At the same time, actors and producers began to return to Shakespeare's texts, slowly weeding out the Restoration revisions. Finally, by the end of the century Shakespeare's plays had been established as part of the repertory outside of Great Britain: not only in the United States but in many European countries.

Britain

In the 18th century, Shakespeare dominated the London stage, while Shakespeare productions turned increasingly into the creation of star turns for star actors. After the Licensing Act of 1737, one fourth of the plays performed were by Shakespeare, and on at least two occasions rival London playhouses staged the very same Shakespeare play at the same time ("Romeo and Juliet" in 1755 and "King Lear" the next year) and still commanded audiences. This occasion was a striking example of the growing prominence of Shakespeare stars in the theatrical culture, the big attraction being the competition and rivalry between the male leads at Covent Garden and Drury Lane, Spranger Barry and David Garrick. In the 1740s, Charles Macklin, in roles such as Malvolio and Shylock, and David Garrick, who won fame as Richard III in 1741, helped make Shakespeare truly popular. [Uglow, Jenny (1997). "Hogarth". London: Faber and Faber, 398. ISBN 0571193765.] Garrick went on to produce 26 of the plays at Drury Lane Theatre between 1747 and 1776, and he held a great Shakespeare Jubilee at Stratford in 1769. [Martin, Peter (1995). "Edmond Malone, Shakespearean Scholar: A Literary Biography". Cambridge: Cambridge University Press, 27. ISBN 0521460301.] He freely adapted Shakespeare's work, however, saying of "Hamlet": "I had sworn I would not leave the stage till I had rescued that noble play from all the rubbish of the fifth act. I have brought it forth without the grave-digger's trick, Osrick, & the fencing match." [Letter to Sir William Young, 10 January 1773. Quoted by Uglow, 473.] Apparently no incongruity was perceived in having Barry and Garrick, in their late thirties, play adolescent Romeo one season and geriatric King Lear the next. Eighteenth century notions of verisimilitude did not usually require an actor to be physically appropriate for a role, a fact epitomized by a 1744 production of "Romeo and Juliet" in which Theophilus Cibber, then forty, played Romeo to the Juliet of his teenaged daughter Jennie.

Elsewhere in Europe

Some of Shakespeare's work was performed in continental Europe even during his lifetime; Ludwig Tieck pointed out German versions of "Hamlet" and other plays, of uncertain provenance, but certainly quite old. [Tieck, xiii.] but it was not until after the middle of the next century that Shakespeare appeared regularly on German stages. [Pfister 49.] In Germany Lessing compared Shakespeare to German folk literature. Goethe organised a Shakespeare jubilee in Frankfurt in 1771, stating that the dramatist had shown that the Aristotelian unities were "as oppressive as a prison" and were "burdensome fetters on our imagination". Herder likewise proclaimed that reading Shakespeare's work opens "leaves from the book of events, of providence, of the world, blowing in the sands of time." [Düntzer, 111.] This claim that Shakespeare's work breaks though all creative boundaries to reveal a chaotic, teeming, contradictory world became characteristic of Romantic criticism, later being expressed by Victor Hugo in the preface to his play "Cromwell", in which he lauded Shakespeare as an artist of the grotesque, a genre in which the tragic, absurd, trivial and serious were inseparably intertwined. [Cappon, 65.]

19th century

(see image at right).

Victorian productions of Shakespeare often sought pictorial effects in "authentic" historical costumes and sets. The staging of the reported sea fights and barge scene in " Antony and Cleopatra" was one spectacular example. [Halpern (1997). "Shakespeare Among the Moderns". New York: Cornell University Press, 64. ISBN 0801484189.] Too often, the result was a loss of pace. Towards the end of the century, William Poel led a reaction against this heavy style. In a series of "Elizabethan" productions on a thrust stage, he paid fresh attention to the structure of the drama.

Through the 19th century, a roll call of legendary actors' names all but drown out the plays in which they appear: Sarah Siddons (1755—1831), John Philip Kemble (1757—1823), Henry Irving (1838—1905), and Ellen Terry (1847—1928). To be a star of the legitimate drama came to mean being first and foremost a "great Shakespeare actor", with a famous interpretation of, for men, Hamlet, and for women, Lady Macbeth, and especially with a striking delivery of the great soliloquies. The acme of spectacle, star, and soliloquy Shakespeare performance came with the reign of actor-manager Henry Irving and his co-star Ellen Terry in their elaborately staged productions, often with orchestral incidental music, at the Lyceum Theatre, London from 1878 to 1902. At the same time, a revolutionary return to the roots of Shakespeare's original texts, and to the platform stage, absence of scenery, and fluid scene changes of the Elizabethan theatre, was being effected by William Poel's Elizabethan Stage Society. [Glick, 15.]

20th century

In the early twentieth century, Harley Granville-Barker directed quarto and folio texts with few cuts, [Griffiths, Trevor R (ed.) (1996). "A Midsummer's Night's Dream". William Shakespeare. Cambridge: Cambridge University Press; Introduction, 2, 38–39. ISBN 0521575656.
• Halpern, 64.] while Edward Gordon Craig and others called for abstract staging. Both approaches have influenced the variety of Shakespearean production styles seen today. [Bristol, Michael, and Kathleen McLuskie (eds.). "Shakespeare and Modern Theatre: The Performance of Modernity." London; New York: Routledge; Introduction, 5–6. ISBN 0415219841.]

The twentieth century also saw a multiplicity of visual interpretations of Shakespeare's plays.

Gordon Craig's design for "Hamlet" in 1911 was groundbreaking in its Cubist influence. Craig defined space with simple flats: monochrome canvases stretched on wooden frames, which were hinged together to be self-supporting. Though the construction of these flats was not original, its application to Shakespeare was completely new. The flats could be aligned in many configurations and provided a technique of simulating architectural or abstract lithic structures out of supplies and methods common to any theater in Europe or the Americas. Craig's iconoclastic design was the first of many paradigm shifts in the design of Shakespeare's plays of the twentieth century.Fact|date=August 2007

The second major shift of twentieth-century scenography of Shakespeare was in Barry Vincent Jackson's 1923 production of "Cymbeline" at the Birmingham Rep. This production was groundbreaking because it reintroduced the idea of modern dress back into Shakespeare. It was not the first modern-dress production since there were a few minor examples before World War II, but "Cymbeline" was the first to call attention to the device in a blatant way. Iachimo was costumed in evening dress for the wager, the court was in military uniforms, and the disguised Imogen in knickerbockers and cap. It was for this production that critics invented the catch phrase "Shakespeare in plus-fours". [Trewin, J. C. "Shakespeare on the English Stage", 1900-1064". London, 1964.] The experiment was moderately successful, and the director, H.K. Ayliff, two years later staged "Hamlet" in modern dress. These productions paved the way for the modern-dress Shakespearean productions that we are familiar with today.

In 1936, Orson Welles brought "Macbeth" to Harlem in the groundbreaking production casting only African American actors. The production was controversial. Welles' retelling of the story, called "Voodoo Macbeth", was set in a Haiti run by an evil king thoroughly controlled by African magic. Despite its unique nature, this "Macbeth" exhibited some of the patronizing attitudes that black leaders had been denouncing. When Macbeth (Maurice Ellis) fell ill, Welles went on in the title role wearing blackface, a politically loaded decision that stirred some controversy. [Houseman, John, 205.] The black community took to the production thoroughly, ensuring full houses for ten weeks at the Lafayette Theatre and prompting a small Broadway success and a national tour. [Hill, 106.]

Other notable productions of the twentieth century that follow this trend of relocating Shakespeare's plays are H.K. Ayliff's "Macbeth" of 1928 set on the battlefields of World War I, Welles' "Julius Caesar" of 1937 based on the Nazi rallies at Nuremberg, and Thacker's "Coriolanus" of 1994 costumed in the manner of the French Revolution. [Jackson 345.]

In 1978, a deconstructive version of "The Taming of the Shrew" was performed at the Royal Shakespeare Theatre. ["Looking at Shakespeare: A Visual History of Twentieth-Century Performance" by Dennis Kennedy, Cambridge University Press, 2001, pages 1 to 3.] The main character walked through the audience toward the stage, acting drunk and shouting sexist comments before he proceeded to tear down (i.e., deconstruct) the scenery. Even after press coverage, some audience members still fled from the performance, thinking they were witnessing a real assault. ["Looking at Shakespeare: A Visual History of Twentieth-Century Performance" by Dennis Kennedy, Cambridge University Press, 2001, pages 1 to 3.]

Shakespeare on screen

More than 420 feature-length film versions of Shakespeare's plays have been produced since the early 20th century, making Shakespeare the most filmed author ever. [Young, Mark (ed.). "The Guinness Book of Records 1999", Bantam Books, 358; Voigts-Virchow, Eckart (2004), "Janespotting and Beyond: British Heritage Retrovisions Since the Mid-1990s", Gunter Narr Verlag, 92.] Many of the film adaptations, especially Hollywood movies marketed to teenage audiences, use his plots rather than his dialogue, while others are simply filmed full-length versions of his plays.

Dress and design

For centuries there had been an accepted style of how Shakespeare was to be performed which was erroneously labeled "Elizabethan" but actually reflected a trend of design from a period shortly after Shakespeare's death. Shakespeare's performances were originally performed in contemporary dress. Actors were costumed in clothes that they might wear off the stage. This continued into the 18th century, the Georgian period, where costumes were the current fashionable dress. It wasn't until centuries after his death, primarily the 19th Century, that productions started looking back and tried to be "authentic" to a Shakespearean style. The Victorian era had a fascination with historical accuracy, this was adopted to the stage in order to appeal to the educated middle class. Charles Kean was particularly interested in historical context and spent many hours researching historical dress and setting for his productions. This faux-Shakespearean style was fixed until the twentieth century.

See also

*Elizabethan era
*Globe Theatre

Notes

Bibliography

*Arrowsmith, William Robson. "Shakespeare's Editors and Commentators". London: J. Russell Smith, 1865.
*Cappon, Edward. "Victor Hugo: A Memoir and a Study". Edinburgh: Blackwood, 1885.
*Dryden, John. "The Critical and Miscellaneous Prose Works of John Dryden". Edmond Malone, editor. London: Baldwin, 1800.
*Düntzer, J. H. J., "Life of Goethe". Thomas Lyster, translator. New York: Macmillan, 1884.
*Glick, Claris. "William Poel: His Theories and Influence." "Shakespeare Quarterly" 15 (1964).
*Hill, Erroll. "Shakespeare in Sable". Amherst: University of Massachusetts Press, 1984.
*Houseman, John. "Run-through: A Memoir". New York: Simon & Shuster, 1972.
*Jackson, Russell. "Shakespeare at Stratford-upon-Avon, 1994-5." "Shakespeare Quarterly" 46 (1995).
* Nettleton, George Henry. "English Drama of the Restoration and Eighteenth Century (1642-1780". London: Macmillan, 1914.
*Pfister, Manfred. "Shakespeare and the European Canon." "Shifting the Scene: Shakespeare in European Culture". Balz Engler and Ledina Lambert, eds. Newark, DE: University of Delaware Press, 2004.
*Sprague, A. C. "Beaumont and Fletcher on the Restoration Stage". New York: Benjamin Blom, 1954.
*Tieck, Ludwig. "Alt-englischen drama". Berlin, 1811.