Shakespeare's Stage Research Articles

Shakespeare's Inner Stage

These two excellent papers illustrate how data from widely separated and apparently unrelated areas of theatrical activity may combine to help solve a crucial problem: the original method employed in staging Shakespeare's plays. The problem hinges largely upon the nature of the so-called ‘inner stage’ and the extent of its use at such theatres as the Globe. Mr. Nagler's survey reinforces the impression that Renaissance acting, whether on medieval, neo-classical, or ‘mixed' stages was, in the main, pro-scenium acting. Normally the setting did not contain the action as in the modern theatre but simply supplied the actors with access to their playing space and, in some cases, an illustrative background. Such being the tradition of the time, the type of court performance ‘in the round’ suggested by Mr. Hotson's important discovery seems less surprising. And if Shakespearean plays could be per formed at court upon a centrally placed stage surrounded by its audience, presumably these same plays could be performed at the Globe wïthout extensive use of an inner stage.

Shakespeare's stage and audience

Shakespeare's stage and audience

Shakespeare's Stage Blood and its Critical Significance

The Elizabethans were familiar with scenes in which stage blood was liberally used. The tradition was old. In Cambises (1560's), “Enter Cruelty and Murder with bloody hands.” They grasp their victim: [Cru.] Even now I strike, his body to wound.Strike him in divers places.Beholde, now his blood springs out on the ground! A little bladder of vineger prickt.

Some notes on Shakespeare‘s stage and plays

Some notes on Shakespeare‘s stage and plays

Burbage and Shakespeare's Stage

Burbage and Shakespeare's Stage

Another Study of Shakespeare's Stage

Another Study of Shakespeare's Stage

Burbage and Shakespeare's Stage.

Burbage and Shakespeare's Stage.

II.—Note on some Carboniferous Trilobites

The problems of life which the biologist is called upon to solve present so many and such varied aspects that they are never likely to become exhausted, or to weary by reason of their monotony. Among these the appearances and disappearances of groups in time (like the players on Shakespeare's mimic stage) are certainly not the least interesting questions awaiting solution.