16Conditions for 17th- and 17th-century theater performance to act in the past. They were circular wooden buildings with a paved courtyard in the center. Such a theater could hold around 3,000 spectators. The courtyards were approximately 80 feet in diameter and the rectangular stage was 40 feet by 30 feet high. The Grounding paid only a penny to get in, but for wealthier concertgoers there was seating in the three covered levels or galleries between the inner and outer walls of the stage. buildings that extend around most of the auditorium and stage. It depended on your status where you looked at it„h The stage was partially covered by a roof or canopy, which protruded from the theater wall and was supported by two struts at the front. This protected the stage and the performers from the changing weather. Also used to secure winches and other stage machinery used for stage effects. On either side at the back was the stage door leading to the dressing rooms or playing room and the actors entered and exited through here.„h In 1608 the king's men purchased a second, indoor theatre, at Blackfriars. It held 700 people with seating for all, facilities for elaborate stage effects and artificial lighting. The price of admission was higher than in public theaters, thus attracting a more selective audience.„h There was little space for sets and props and nowhere to store them. The shows had to be transferable from the theater to the court up to private noble houses. Due to the lack of sets and props, the actors had to explain where they were.„h The setting was used to suggest moods or dramatic situations. The staging was coherent… half the paper… structured in a way that didn't completely eliminate the spoken word. In The Fairy Queen, the spoken text made up 40% of the performance time. It served as the opera's structural framework with each of the five acts ending with spectacular ballet performances for which Purcell wrote the music. The text that appeared in The Fairy Queen was only half of Shakespeare's original text. It was "Englishized" by eliminating any mention of Athens or Greece and altered to fit the language of the Restoration, when some of the syntax and diction already seemed archaic. The Fairy Queen was popular enough to be briefly revived in 1693, but soon afterwards the music was lost and Purcell's opera disappeared from view for some time. Since her rediscovery in 1900, The Fairy Queen has enjoyed a few concerts, but has rarely been fully staged.

Topic > 16Conditions for 17th- and 17th-century theater performance to act in the past. They were circular wooden buildings with a paved courtyard in the center. Such a theater could hold around 3,000 spectators. The courtyards were approximately 80 feet in diameter and the rectangular stage was 40 feet by 30 feet high. The Grounding paid only a penny to get in, but for wealthier concertgoers there was seating in the three covered levels or galleries between the inner and outer walls of the stage. buildings that extend around most of the auditorium and stage. It depended on your status where you looked at it„h The stage was partially covered by a roof or canopy, which protruded from the theater wall and was supported by two struts at the front. This protected the stage and the performers from the changing weather. Also used to secure winches and other stage machinery used for stage effects. On either side at the back was the stage door leading to the dressing rooms or playing room and the actors entered and exited through here.„h In 1608 the king's men purchased a second, indoor theatre, at Blackfriars. It held 700 people with seating for all, facilities for elaborate stage effects and artificial lighting. The price of admission was higher than in public theaters, thus attracting a more selective audience.„h There was little space for sets and props and nowhere to store them. The shows had to be transferable from the theater to the court up to private noble houses. Due to the lack of sets and props, the actors had to explain where they were.„h The setting was used to suggest moods or dramatic situations. The staging was coherent… half the paper… structured in a way that didn't completely eliminate the spoken word. In The Fairy Queen, the spoken text made up 40% of the performance time. It served as the opera's structural framework with each of the five acts ending with spectacular ballet performances for which Purcell wrote the music. The text that appeared in The Fairy Queen was only half of Shakespeare's original text. It was "Englishized" by eliminating any mention of Athens or Greece and altered to fit the language of the Restoration, when some of the syntax and diction already seemed archaic. The Fairy Queen was popular enough to be briefly revived in 1693, but soon afterwards the music was lost and Purcell's opera disappeared from view for some time. Since her rediscovery in 1900, The Fairy Queen has enjoyed a few concerts, but has rarely been fully staged.