Flag above the hut was there to indicate concert day. Musicians' veranda was beneath the hut at the third level and spectators would have to sit on 2nd level. (the Elizabethan Theatre: Introduction to Theatre Online Course) The performance sites are also original. First managed in suitable public places like inn courtyards, in the fashion of the corrals in Spain, they rapidly become lasting sites. Hence, in the span of a few years, London witnessed the beginning of theatres showing a distinctive architecture, on the south bank of the Thames. (the Elizabethan theatre/the Elizabethan theatre) if you were to take a trip back in time and be present at a play in Elizabethan theatre, you would instantly observe many features of the theatre's interior that would appear odd to you. Among the initial variations, the one you might have observed on entering the theatre was the structure of the stage, a huge platform bounded by the audience on three sides. This close nearness of the audience to the stage formed a more intermingling relationship between the actors and the audience. In contrast to most of audiences of present day, the people attending Elizabethan theatre were caught up in the play, yelling ideas, support, or irritation to the actors. When the audience did not enjoy a character, they even tossed rotten fruit at the actors to show their discontent! One more aspect of the Elizabethan theatre that might have appeared odd to you was the tiring house, a place at the back of the stage that belongs to the offstage area of a theatre today. The actors operated the tiring house as dressing rooms. Entry and exit were also made of the doors guiding to the tiring house. (Welcome to the world of the Elizabethan theatre!)

Actors could also enter the action from the curtained discovery space at the back of the stage. By releasing the curtains, the actors could disclose characters that were snooping on the conversations of the characters on stage. The Elizabethan stage also incorporated a small roof projecting over a part of the back part of the main stage, which was covered by a hut. "This structure was known as the heavens and contained the machinery needed to produce sound effects or to lower "angels" and "gods" down to the stage. Gods, angels, and other characters could also appear in the gallery that hung over the back of the main stage. This gallery was often used as a castle wall or a balcony. Of course, "ghosts" and "demons" must also be provided for, and so the stage was equipped with a trapdoor leading to a "Hell" beneath the stage. The trapdoor was also used as a grave in theatrical funerals." (Welcome to the world of the Elizabethan theatre!)

The theatre was a very well-liked form of amusement in Shakespeare's times similar to bear-baiting and bull-baiting, in spite of Puritan attempts in opposition to it. (Elizabethan Theatre: Within this wooden O. Henry V Prologue 13) Elizabethan dramas were frequently used as propaganda. For instance, a play called 'Alarum for London' that exhibited Spanish soldiers assassinating naive civilians in Antwerp was enacted number of times during Elizabeth's clash with Philip II in the 1580s. (Elizabethan Theatre: Education on the Internet & Teaching History Online) When a drama was to be held, a flag was lifted on the top of the playhouse as an indication to Londoners of the occasion. A trumpeter would also publicize the up coming play in song. The Elizabethan theatre also used a range of sound effects. Besides the trumpet blast that gathered the audiences to the theatre, music played a vital part in the setting the temper of the dramas. The actors also used tool to produce such sounds as thunder, running horses, falling rain, and cannon blasts. Over and above conversation, Elizabethan actors also used outfits to assist their audiences in grasping the action of a drama.

The actors were dressed in intricate and multicolored costumes that frequently recognized a character as a member of a definite social class, profession, or significant group in the play. For instance, a coronet and purple fine clothes would instantly recognize an actor as a king. All of the members of a certain family...

The importance that was given to a character's clothing made the subject of conceal a general principle of Elizabethan theatre. To facilitate swap places with another character or conceal his personality, all an actor wanted to do was to alter his costume. The Elizabethan theatre made use of many theatrical rules and techniques of producing a whole effect, some of which resemble those of the theatre today and some of which are very unusual. The Elizabethan stage production used very small landscape in making the effect of the drama; thus, the acting companies of Shakespeare's time had to depend greatly on the visualization of their audience and the use of many options in conveying the messages of their dramas. (Welcome to the world of the Elizabethan theatre!)
Its other distinctiveness is to support the nearness between actors and spectators, generating closeness favorable to the participation of the audience. (the Elizabethan theatre/the Elizabethan theatre) Without an intricate stage setting on which to focus their mind, Elizabethan audiences were compelled to take note more closely to the artist's conversation so as to comprehend the action and meaning of a drama. Understanding this, the playwright made a great attempt to employ poetic conversation to paint a picture of the scene that he wanted his audience to imagine. For instance, Shakespeare wrote chiefly in an unrhymed form of poetry called blank verse. The conversation of the characters would not only sound enjoyable but also comprise of all the information that was required for the audience to know the time and place of the action, the character's uniqueness, and also the physical looks of the characters. For example, when a youthful male actor depicting the character of the beautiful Juliet Capulet was showed, the audience was anticipated to ignore the artist's looks and instead focus on the beautiful, charming lady expressed in the conversation. "Soliloquies, in which the actor delivers a speech directly to the audience or voices his true feelings, aloud as if talking to himself, were also used to reveal the play's characters and plot to the audience" (Welcome to the world of the Elizabethan theatre!) for the similar reasons, actors also made use of whispers, in which the character "thinks aloud" without the sense of the other characters on arena. (Welcome to the world of the Elizabethan theatre!)

The initial playing companies were helpful where some of the actors were sharers in the company which meant that they gathered payments, designed the repertoire, appointed other actors, prearranged offstage actions, prepared props and dresses, hired musical group, manager and storekeepers and modified and procured new plays. The chief company generally had of a handful of standard players with boy trainees who played all the female roles and journeymen players who were used for specific pieces. It was illegal for women to come out on the stage on basis of depravity, in England. But the women were present at the theatre though it was not officially accepted of and usually the affluent women would wear veil to mask their self. (David; Express, Elizabethan Theatre)

Every rank of people like learners, law students, craftsmen, pickpockets, ballad sellers, merchants and aristocrats went to the plays. (Playhouses: Elizabethan Theatre) as there was no synthetic lighting, the theatre performances were mainly held in the afternoons. These theatres could engage several thousand people; most standing in the open pit before the stage, though rich nobles could observe the play from a chair set on the side of the stage itself. (David; Express, Elizabethan Theatre) Wealth and social status determined the seating capacity of the Elizabethan theatre. A person had to pay a penny for entrance, but for an extra fee one could sit in one of the balconies secluded from the elements. Only the richer patrons of the theatre were capable of paying this fee and mostly they occupied those seats. The inferior members of the viewers, or "groundlings," were made to stand in the courtyard adjacent to the stage. (Welcome to the world of the Elizabethan theatre!) Very rarely, privileged visitors of the theatre were given seats of honor on the border of the stage as well. (Welcome to the world of the Elizabethan theatre!)

Prior to the construction of stable playhouses of Shakespeare's time, plays were put on by roaming groups of actors who would travel all through the country in wooden carts that could be altered into temporary theaters. These acting groups acted anywhere they could find an audience, typically putting up their platform in the patio of an inn or sometimes in the home of a nobleman at his appeal. The roaming acting groups frequently had the status of being idle…