Performance History
During Shakespeare's lifetime, many of his greatest plays were staged at the Globe Theatre and the Blackfriars Theatre. Shakespeare's fellow members of the Lord Chamberlain's Men acted in his plays. Among these actors were Richard Burbage (who played the title role in the first performances of many of Shakespeare's plays, including Hamlet, Othello, Richard III and King Lear), Richard Cowley (who played Verges in Much Ado About Nothing), William Kempe, (who played Peter in Romeo and Juliet and, possibly, Bottom in A Midsummer Night's Dream) and Henry Condell and John Heminges, who are most famous now for collecting and editing the plays of Shakespeare's First Folio (1623).
Shakespeare's plays continued to be staged after his death until the Interregnum (1642–1660), when all public stage performances were banned by the Puritan rulers. After the English Restoration, Shakespeare's plays were performed in playhouses with elaborate scenery and staged with music, dancing, thunder, lightning, wave machines, and fireworks. During this time the texts were "reformed" and "improved" for the stage, an undertaking which has seemed shockingly disrespectful to posterity.
Victorian productions of Shakespeare often sought pictorial effects in "authentic" historical costumes and sets. The staging of the reported sea fights and barge scene in Antony and Cleopatra was one spectacular example. Too often, the result was a loss of pace. Towards the end of the 19th century, William Poel led a reaction against this heavy style. In a series of "Elizabethan" productions on a thrust stage, he paid fresh attention to the structure of the drama. In the early twentieth century, Harley Granville-Barker directed quarto and folio texts with few cuts, while Edward Gordon Craig and others called for abstract staging. Both approaches have influenced the variety of Shakespearian production styles seen today.
Read more about this topic: Shakespeare's Plays
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