Shakespeare's Time (1590-1616)

Content Group

Overview

Leonard Digges refers to Will Shakespeare as England's Lope de Vega for sonnet-writing, in an inscription about James Mabbe's sending Vega's Rimas (1613) to Will Baker. In the flyleaf of the book he wrote to Will Baker:

[To] Will Baker: Knowing that Mr. [James Mabbe] was to send you this Book of Sonnets, which with Spaniards here is accounted of their Lope de Vega as in England we should of our Will Shakespeare, I could not but insert thus much to you, that if you like him not, you must never read Spanish poet.

Each age stages and perceives the character of Shakespeare's plays as refracted through its own values and conventions, not just in terms of religious, political, social and aesthetic values, but even in terms of acceptable costumes and scenery. The effects of such refractions of the texts usually involve drastic cuts, emendations, and re-editing. This type of modification has long been identified in such periods as the Restoration, with its reinforcement of neoclassical norms, such as the unities of time, place and action, and the preference for purity of genres such as tragedy and comedy. However, it is now generally perceived that, while the nineteenth century restored much of the original scripts to the stage, these more authentic versions had still to be trimmed severely to accommodate handling of the complex, historically elaborate scenery then fashionable. Act V of Beerbohm Tree's Henry VIII disappeared entirely. Awareness of such modifications by past authorities should alert us to the treatment accorded to Shakespeare's scripts by academic and theatrical powers in our own time, who reconstruct Shakespeare to suit modern tastes, often excused by these precedents of earlier performances. Editors now often extend such radical instability of text to Shakespeare's own time on the basis of divergences between quarto and folio editions. For example, there are now often supposed to be at least two pairs of Shakespearean plays called Richard III and King Lear respectively. The name of the character we have known as Falstaff has disappeared from the script of Henry IV, Part 1 in the Oxford Complete Works of Shakespeare. These local revisions, originally often resulting from adjustments to temporary conditions of original performance, are now held to discredit the integrity of the playwright's text, so that any divergence from printed scripts is nowadays both inevitable and properly unlimited, though the result may still be advanced under the banner of "Shakespearean." However, in a broader context, modern adjustments may seem as localized as those of the neoclassicists or the Victorian historicists. If this website has any larger implication, it is to undercut the definitiveness of many local perspectives, interpretations, and performances, and instead suggest the need to recognize, with most popular audiences, the underlying humane consistencies by which Shakespeare's plays have successfully defied historical distortion. In the Restoration period, after the reopening of the London playhouses, theatre professionals like Davenant, Killigrew, Tate, etc. saw Shakespeare as a gifted but primitive forerunner whose drama was limited by the crude conditions of the Globe and the usually ad hoc character of any indoor theatres. Such ideas led to drastic rewriting of his plays to meet neoclassical standards of composition and staging. This revisionist view began to change in the age of Garrick but that change gained momentum only in the nineteenth century, and even then was inhibited by a false sense of historicity concentrated on the nominal setting of the plays' actions, so that these were recreated with elaborate detail from the time of Charles Kean, reaching a climax with the extravagant stagings of Irving and Tree. This historicizing phase was paradoxically accompanied by increased interest in the narrower issue of the historical conditions of performance in Shakespeare's time, led by William Poel, but reinforced by scholarly investigation of the environment in which Shakespeare's scripts were created. This movement became a major concern of Shakespeare studies in the twentieth century, progressively affecting production values, until they were most fully realized in the recreation of the Globe Theatre in various forms and locations, including the most visible product in Sam Wanamaker's recreation of the Globe near its original site in Southwark. Most of the immediately following bibliography traces this academic and professional progression in recovery of Shakespeare's working conditions. These investigations have reached a complexity and exacting specificity which risks self-cancellation, reflected in so-called "Presentism" movement which insists on the relevance of modern-day audience concerns, and inviting disregard of historical context, so that we now rival the Restoration theatre in radical revisionism of Shakespeare to fit an alien context, as in the adaptations of Charles Marowitz (see discussion in Terence Hawkes, Shakespeare in the Present).

Images

Videos

Henry V at the Globe Theater	Visual Backgrounds of Shakespeare and His Theatre	Elizabethan England: the Renaissance Faire of Northern California	Elizabethan England: the Renaissance Faire of Northern California
Elizabethan England: the Renaissance Faire of Northern California	Playing at the Globe: Rebecca Tourino	Much Ado at the Shakespeare Globe Theatre	Shakespeare’s Globe Theatre: Falstaff (Roger Allam) on Honor

Slideshows

Early Uses of the Rebuilt Shakespeare's Globe Theatre

Much Ado About Nothing at Shakespeare's Globe Theatre (1996)

Productions from the 16th Century to The Present Day

Rebuilding Shakespeare's Globe Theatre

The Completed Shakespeare's Globe Theatre

The Historical Context of Shakespeare Staging

Theatres Before Shakespeare's Globe Theatre

Commentary

Essay Title	Author
Dramatic Criticism in Shakespeare's Time	Hugh Richmond
The Effect of Audiences on Renaissance Scripts	Hugh Richmond
Staging Terence in Shakespeare's Time	Hugh Richmond

Bibliography

PRIMARY | SECONDARY

BIBLIOGRAPHY OF PRIMARY SOURCES

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Shakespeare's Time (1590-1616)

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Please offer comments and suggestions on any aspects the site to: Director Hugh Richmond at richmondh77@gmail.com. See samples at the site Blog.

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