The Elizabethan theatre audience was diverse and passionate, reflecting the broad appeal of drama during this period. The pricing structure of these theatres allowed for a wide range of social classes to attend performances, contributing to the vibrant atmosphere of Elizabethan playhouses.

Example: For just a penny, equivalent to 1/12 of a London worker's weekly salary, one could gain entrance to the pit, offering standing room around the stage.

Those who could afford six pence had access to seated places in the covered galleries, typically city merchants and nobility. This tiered pricing system ensured that theatre was accessible to a broad spectrum of society, from commoners to the elite.

The behavior and preferences of the Elizabethan theatre audience were distinctive:

• Spectators ate and drank during performances, creating a lively atmosphere.
• They freely expressed their emotions, responding with laughter or tears.
• There was a great appreciation for language and long speeches.
• Audiences craved sensation and overwhelming emotion.
• They had a particular fondness for metaphor and extremes.
• Thrills and horror were popular elements in plays.
• There was a strong interest in chronicles and history plays featuring heroic deeds, reflecting a strong national sentiment.

Highlight: The diverse and responsive nature of Elizabethan audiences played a crucial role in shaping the content and style of plays during this period.

Actors in Elizabethan theatre faced unique challenges and requirements:

• They needed to maintain a varied repertoire, often preparing new plays in as little as two weeks.
• It was common for actors to play multiple roles in a single performance.
• Excellent memory was essential due to the rapid turnover of plays and the lack of extensive rehearsal time.

Vocabulary: The "tiring house" was the backstage area where actors changed costumes and prepared for their entrances.

A notable aspect of Elizabethan theatre characteristics was the all-male cast. Companies included 5-6 boys to play female roles until their voices broke. These young actors underwent extensive training in singing, dancing, diction, and feminine gestures from a very young age. Interestingly, contemporary audiences found these cross-dressed performances highly convincing.

Two important character types in Elizabethan drama were the clown and the fool:

• The clown typically represented a rough peasant whose language provided a counterpoint to the heroic or romantic language of other characters.
• The fool was portrayed as a professional jester, often serving as a source of wisdom and commentary on the play's events.

Quote: "The fool doth think he is wise, but the wise man knows himself to be a fool." - William Shakespeare, "As You Like It"

The sources of inspiration for Elizabethan drama were diverse, reflecting the era's rich cultural influences:

• The Italian Commedia dell'Arte, known for its stock characters and improvised performances.
• Works of Niccolò Machiavelli, which introduced elements of political intrigue and moral ambiguity.
• Greek tragedies and the works of the Roman philosopher Seneca, influencing the structure of plays and introducing themes of revenge and violence.
• Thomas Kyd's "The Spanish Tragedy," which popularized the play-within-a-play device.

These varied influences contributed to the complexity and richness of Elizabethan drama, establishing a theatrical tradition that continues to influence modern theatre and literature.

The origins of Greek drama evolved into the vibrant world of Elizabethan theatre, marking a significant shift in the history of drama in English literature. This transformation saw English replace Latin as the primary language of performance, and lay people took the place of monks and priests in theatrical productions. These early plays, known as Mystery Plays, laid the foundation for the rich theatrical tradition that would follow.

Drama became the predominant art form during this period for several reasons. Entertainment was deeply rooted in communal life, and the public was more accustomed to listening than reading. The construction of permanent theatres on London's South Bank further solidified drama's position, as these venues prospered as economic enterprises.

Highlight: The establishment of permanent playhouses in London marked a significant break from past theatrical practices, ushering in a new era of dramatic arts.

Towards the end of the 16th century, several iconic theatres were built, each playing a crucial role in the development of Drama. These included:

• The Theatre (1576) and The Curtain (1577), both by James Burbage
• The Rose (1587) by Philip Henslowe
• The Swan (1595) by Francis Langley
• The Globe (1599) by Cuthbert and Richard Burbage
• The Fortune (1600) by Philip Henslowe

Example: The Globe Theatre, famously associated with William Shakespeare, exemplifies the Elizabethan theatre structure and became a symbol of the era's theatrical achievements.

The Elizabethan playhouse structure was distinctive and influential. These theatres were typically round or octagonal, standing about 12 meters high with a diameter of 25 meters. A key feature was the rectangular apron stage that projected into the yard or pit, without a curtain. This open design facilitated a close connection between actors and audience.

Definition: The apron stage is a stage that extends into the auditorium, allowing the audience to view the performance from three sides.

The internal layout of these theatres was complex and multifunctional. It included:

• A stage partially covered by a thatched roof (called the 'shadow')
• Three tiers of roofed galleries surrounding the stage
• The actors' tiring house at the back
• A trap door in the front of the stage for dramatic entrances and exits
• An inner stage used for discoveries or concealments

This versatile design allowed for a wide range of theatrical effects and staging possibilities, contributing to the rich and immersive experiences that characterized Elizabethan theatre.