Shakespeare and
the Elizabethan
Theatre continued
The Globe Theatre was instrumental in the staging of all of
Shakespeare's plays. Theatre's
transition had been impeded and yet at
the same time motivated by the events that moved the populace. Camus's
existentialism, a belief in the human race and something above us all,
call it “God” (as you like it); on reflection and sorting of all the
philosophies perhaps best describes the philosophies that accommodated
this
era of change and lifestyle practise.
Shakespeare's plays would represent an aspect, a part of every event,
decision, and God forbid beheadings !
Here are a few examples:
Suitors were born out of each play, a hero to mark, the time of each
event.
Hamlet, a valiant, noble warrior?!
Prospero, a leader self
appointed saviour upon a vessel of change. The weather in The Tempest
as tempestuous as the temperament of characters, issues and demands.
The time denoted the need for strong leadership whilst undertaking the
challenges of the time, developing theatre and ensuring that theatrical
elements were steadfastly evolving into a tool, an instrument, a rod, a
net (for the fishes of “men”)?
Change and Transition was and is inevitable.
Shakespeare, like his
counterparts such as Christopher Marlowe knew this and needed to make a
decision; Become part of a
progressive theatre
movement or be left
behind ... along the way side of literary exposure.
Shakespeare masterfully (yet naively - that's why it is masterful) taps
into the resources of his time as we are able to see with “Romeo and
Juliet”.
The Age of Innocence, youth, and
the aged Queen of England who demanded the affections of the
populace as the populace's demands led to her aloneness, isolation and
solitariness ... her loneliness (the queen was to satisfy the populace
in respect of her choice of husband; husbandry was of utmost
importance).
The Elizabethan Age was a time of poverty and Financial impoverishment
...
the age was in transition towards the death of the Medieval world and
the
birth of the Modern World.
Camus's theory on existentialism seems to
take
root in Shakespeare's life and inevitably in his literary works;
redefining man's nature.
You may well imagine that confusion abounded.
Of course, politics would
have no place in love as they would determine their own rules. This
would have little or nothing to do with pleasing the nation or populace
... impending death is met with their impetuous behaviour; Acts of
Youth; Beheadings and regret are sure to follow.
The family's transition was indicative of the time as the search for a
new order, the demand of it; cultural renaissance was required ... a
stronger belief system and belief in “God or other”. Freethinking was
the order of the day or so it appeared?
Where was / is love's place to
be?
Where is God's place to be?
Not forgetting the populace's demands
on Elizabeth, the First's reign and the pickiness of suitor; the choice
of suitor would determine who would sit alongside her as king of
England.
This weightedness was to later weigh upon the Heart leaving little room
for love, but heartaches.
TO BE OR NOT TO BE THEATRICAL?!
... What brilliant staging, The Globe
Theatre; Hamlet!
Imagine a beautiful, commanding rhobust woman being
played or staged in Grecian style or perhaps even Roman theatre.
Ophelia, Juliet, Ariel ... all women being played or staged by men,
young boyish innocence @ its best.
This makes the romance factor
daringly more challenging for a heterosexual society or does it?
The
theatre thankfully changes progressively with the move towards the
modern world ... :
Well cross dressers and others may find this illuminating.
I on the
other hand love the transition of theatre ... don't you? A woman
playing a woman, a child playing a child, a man playing a man (or more
or less) backdating Shakespeare at any given time.
Shakespeare where
art thou now?
Women and men have become empowered and have more to
offer, do or discuss other than “How/When etc do I wash yous feet
master?” since mine also needs washing! Humility has its place, does it not?
We needed the change and still
do to accommodate change. Elizabethan theatre accommodated the Greek
and Roman amphitheatres (with technical changes) and today we will find
the visibility of this accommodation still evident even in our protest
/ street theatre. An exodus of ideas and concepts transcended time and
was rooted or embraced in the present.
Dying at Stratford-on-Avon on 23
April 1616 (exactly 52 years later and of age); he lies buried with the
chancel rail of The Holy Trinity Church (xii).
He leaves behind plays
that revealed the events of the time.
Whilst reflection was not his
strongest literary skill, he has managed to encourage its practise as
its journey has improved the quality of thinking, speech, interaction
and ultimately the moves towards reconciliation.
Shakespeare passed
away a young man, a tragic hero within his own right, leaving the
remnants of his life published and mourning his place in his family.
A
Soliloquy of Haunting Sorrow for All.
http://www.shvoong.com/books/classic-literature/1770354-hamlet/
http://www.shvoong.com/books/classic-literature/1769133-midsummer-night-s-dream/
http://www.shvoong.com/books/classic-literature/1764097-julius-caesar/
http://www.shvoong.com/books/classic-literature/1765597-romeo-juliet/
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