Related Research Articles
English Renaissance theatre, also known as Renaissance English theatre and Elizabethan theatre, refers to the theatre of England between 1558 and 1642.
William Rowley was an English Jacobean dramatist, best known for works written in collaboration with more successful writers. His date of birth is estimated to have been c. 1585; he was buried on 11 February 1626 in the graveyard of St James's, Clerkenwell in north London.
The King's Men was the acting company to which William Shakespeare (1564–1616) belonged for most of his career. Formerly known as the Lord Chamberlain's Men during the reign of Queen Elizabeth I, they became the King's Men in 1603 when King James I ascended the throne and became the company's patron.
In Renaissance-era London, playing company was the usual term for a company of actors. These companies were organised around a group of ten or so shareholders, who performed in the plays but were also responsible for management. The sharers employed "hired men" – that is, the minor actors and the workers behind the scenes. The major companies were based at specific theatres in London; the most successful of them, William Shakespeare's company the King's Men, had the open-air Globe Theatre for summer seasons and the enclosed Blackfriars Theatre in the winters. The Admiral's Men occupied the Rose Theatre in the 1590s, and the Fortune Theatre in the early 17th century.
Queen Anne's Men was a playing company, or troupe of actors, in Jacobean era London. In their own era they were known colloquially as the Queen's Men — as were Queen Elizabeth's Men and Queen Henrietta's Men, in theirs.
The Admiral's Men was a playing company or troupe of actors in the Elizabethan and Stuart eras. It is generally considered the second most important acting troupe of English Renaissance theatre.
A boy player was a male child or teenager who performed in Medieval and English Renaissance playing companies. Some boy players worked for adult companies and performed the female roles, since women were not allowed to perform on the English stage during this period. Others worked for children's companies in which all roles, not just the female ones, were played by boys.
The Cockpit was a theatre in London, operating from 1616 to around 1665. It was the first theatre to be located near Drury Lane. After damage in 1617, it was named The Phoenix.
The Salisbury Court Theatre was a theatre in 17th-century London. It was in the neighbourhood of Salisbury Court, which was formerly the London residence of the Bishops of Salisbury. Salisbury Court was acquired by Richard Sackville in 1564 during the last seven years of his life when he was Chancellor of the Exchequer under Queen Elizabeth; when Thomas Sackville was created Earl of Dorset in 1604, the building was renamed Dorset House.
Beeston's Boys was the popular and colloquial name of The King and Queen's Young Company, a troupe of boy actors of the Caroline period, active mainly in the years 1637–1642.
The Lady Elizabeth's Men, or Princess Elizabeth's Men, was a company of actors in Jacobean London, formed under the patronage of King James I's daughter Princess Elizabeth. From 1618 on, the company was called The Queen of Bohemia's Men, after Elizabeth and her husband the Elector Palatine had their brief and disastrous flirtation with the crown of Bohemia.
Queen Henrietta's Men was an important playing company or troupe of actors in Caroline era in London. At their peak of popularity, Queen Henrietta's Men were the second leading troupe of the day, after only the King's Men.
Richard Perkins was a prominent early seventeenth-century actor, most famous for his performance in the role of Barabas in Christopher Marlowe's The Jew of Malta. At the peak of his career in the 1630s, many contemporaries judged Perkins to be the premier tragedian of his generation.
The Fortune Playhouse was a historic theatre in London. It was located between Whitecross Street and the modern Golden Lane, just outside the City of London. It was founded about 1600, and suppressed by the Puritan Parliament in 1642.
Eliard Swanston, alternatively spelled Heliard, Hilliard, Elyard, Ellyardt, Ellyaerdt, and Eyloerdt, was an English actor in the Caroline era. He became a leading man in the King's Men, the company of William Shakespeare and Richard Burbage, in the final phase of its existence.
Thomas Pollard was an actor in the King's Men – a prominent comedian in the acting troupe of William Shakespeare and Richard Burbage.
King's Men personnel were the people who worked with and for the Lord Chamberlain's Men and the King's Men from 1594 to 1642. The company was the major theatrical enterprise of its era and featured some of the leading actors of their generation – Richard Burbage, John Lowin, and Joseph Taylor among other – and some leading clowns and comedians, like Will Kempe and Robert Armin. The company benefitted from the services of William Shakespeare, John Fletcher, and Philip Massinger as regular dramatists.
Richard Gunnell was an actor, playwright, and theatre manager in Jacobean and Caroline era London. He is best remembered for his role in the founding of the Salisbury Court Theatre.
Ellis Worth, or Woorth, was a noted English actor in the Jacobean and Caroline eras. He was a leading member of two important companies, Queen Anne's Men and Prince Charles's Men.
References
- ↑ E. K. Chambers, The Elizabethan Stage, 4 Volumes, Oxford, Clarendon Press, 1923; Vol. 2, pp. 241–6.
- ↑ G. E. Bentley, The Jacobean and Caroline Stage, 7 Volumes, Oxford, Oxford University Press, 1941–68; Vol. 1, pp. 302–20.
- ↑ Edwin Nunzeger, A Dictionary of Actors and of Others Associated with the Representation of Plays in England Before 1642, New Haven, Yale University Press, 1929; pp. 146–7, 193, 259, 293.
- ↑ Andrew Gurr, The Shakespearian Playing Companies, Oxford, Oxford University Press, 1996; p. 438.
- ↑ G. E. Bentley, "The Troubles of a Caroline Acting Troupe: Prince Charles's Company," Huntington Library Quarterly, Vol. 41 No. 3 (May 1978), pp. 217–49.
- ↑ Bentley, "Troubles," pp. 245–6.
- ↑ Judith Milhous and Robert D. Hume, "New Light on English Acting Companies in 1646, 1648, and 1660," Review of English Studies Vol. 42 No. 168 (November 1991), pp. 487–509.
| International | |
|---|---|
| National | |
