How did the seating arrangement in the Lord's Room compare to that of the Pit?

The Lord's Room was a high-status gallery above the stage costing 5 pence, offering cushioned seats and protection from the weather. In contrast, the Pit was an open yard where 'groundlings' paid 1 penny to stand, leaving them exposed to rain and without a clear view of the social elite.

What was the fundamental difference between 'The Theatre' and 'The Globe' in terms of their physical materials?

The Globe was physically constructed using the salvaged timbers of 'The Theatre' after a lease dispute. While the materials were identical, the Globe represented a strategic move to Bankside to avoid legal restrictions and provide a permanent home for the Lord Chamberlain's Men.

In the business of the theatre, how did a 'sharer' differ from a 'hireling'?

A sharer was a principal actor who invested capital into the theatre company and received a percentage of the profits from performances. A hireling, however, was an adult male actor paid a fixed weekly wage regardless of the show's financial success.

What is the common error regarding the gender of actors in Elizabethan plays?

Many believe women performed roles like Juliet, but women were legally banned from acting in Elizabethan England. All female roles were played by young boy apprentices whose voices had not yet deepened, necessitating specialized training in feminine mannerisms.

Why is it incorrect to state that the Globe Theatre was located within the City of London?

The Globe was built in Bankside, Southwark, an area known as 'The Liberties' which sat outside the City Council's jurisdiction. This location was chosen specifically to bypass the City's strict bans on theatrical performances and large gatherings.

What mistake do students make when describing the ownership of the Globe?

Students often assume a single nobleman owned the theatre, but it was actually owned by a partnership of actors including Shakespeare and Burbage. This shared ownership was a revolutionary business model that gave actors control over their own professional environment.

What does the term 'icosagon' refer to in the context of the Globe's structure?

An icosagon is a 20-sided polygon, which was the actual geometric shape of the Globe's timber frame. This structure allowed Elizabethan builders to approximate a circular 'O' shape using straight wooden beams.

Define the 'Frons Scenae' and its function in Elizabethan performance.

The Frons Scenae was the elaborate wall at the back of the stage featuring two main doorways. It allowed for dramatic entrances and exits, serving as a permanent architectural backdrop that could represent various settings without changing scenery.

Who was the 'Master of the Revels' and what was his primary duty?

The Master of the Revels was a government official who held the power to censor, approve, or ban plays. His duty was to ensure that no play contained content that was religiously offensive, politically treasonous, or personally slandering to the nobility.

Why was the Globe an open-air amphitheatre rather than an enclosed building?

The open roof was a functional necessity to provide natural sunlight for afternoon performances, as artificial lighting like candles was too expensive and dangerous for large wooden structures. This allowed for maximum visibility and ventilation for a crowd of up to 2,000 people.

The Globe Theatre | AQA GCSE History

1. Origins and the Burbage Dispute

The 1599 Relocation: The Globe was born from a legal conflict between Richard Burbage and his landlord, Giles Allen, who refused to renew the lease for the original site known as 'The Theatre'. In a daring move, Burbage and his company dismantled the wooden structure over Christmas while Allen was away, transporting the timbers across the Thames to Bankside.
Bankside and The Liberties: The new site was located in Southwark, an area outside the strict jurisdiction of the City of London's authorities. This location allowed the theatre to operate despite the opposition of Puritans and city officials who viewed playhouses as dens of immorality and plague-spreading crowds.
Shared Ownership Model: Unlike previous theatres, the Globe was funded and owned by a group of actors from the Lord Chamberlain's Men, including William Shakespeare himself. This 'sharer' system ensured that the principal actors had a direct stake in the theatre's financial success and creative output.

A cross-section diagram of the Globe Theatre showing the tiered galleries, the central stage with 'The Heavens' roof, and the open pit area for groundlings.

2. Architectural Design and the 'Wooden O'

Geometric Structure: Although referred to as a circle, the Globe was actually a 20-sided polygon (icosagon) made from timber frames. This design utilized the available woodworking technology to create an enclosed, circular amphitheatre roughly 30 metres in diameter that could accommodate thousands of spectators.
Open-Air Amphitheatre: The central yard, or 'pit', was unroofed to utilize natural light for afternoon performances, as artificial lighting was not technologically feasible for large crowds. This meant that the experience of theatre was highly dependent on the weather, with only the stage and the seated galleries providing shelter.
Symbolic Design Features: The stage was equipped with a trapdoor for special effects and a painted canopy known as 'The Heavens' that allowed actors to be lowered via pulleys. These features facilitated the dramatic spectacles of spirits, magic, and gods that were central to the popular plays of the time.

3. The Microcosm of Society: Seating and Hierarchy

The Great Chain of Being: The theatre's layout strictly mirrored the Elizabethan belief in a divinely ordered social hierarchy. Spectators were physically positioned according to their wealth and status, with the highest classes literally looking down on the lower classes from the best vantage points.
The Lord's Room and Galleries: The upper classes and nobility sat in 'The Lord's Room' directly above the stage, paying roughly 5 pence for cushioned seats and the best social visibility. Middle-class merchants and gentry occupied the three tiers of galleries, where seats cost between 2 and 3 pence and offered protection from the elements.
Groundlings and the Pit: The poorest audience members, known as 'groundlings', paid 1 penny to stand in the open yard around the stage. While they were exposed to the rain and lacked seating, their proximity to the actors created a lively, interactive environment that influenced performance styles.

4. The Business of Performance: Actors and Regulation

Types of Performers: Acting companies consisted of 'sharers' who received a portion of the profits, 'hirelings' paid a weekly wage, and boy 'apprentices' who played all female roles. Because women were legally and socially prohibited from the stage, young male actors were trained to mimic feminine speech and movement.
Patronage and Protection: To avoid being classified as vagabonds and punished, acting troupes required a noble patron, such as the Earl of Leicester or the Lord Chamberlain. This patronage provided legal protection and social status, effectively turning theatre into a tool for noble prestige and political propaganda.
Government Censorship: The 'Master of the Revels' was a government official responsible for reviewing and approving every play to ensure it did not contain slander or treason. This censorship was necessary because the theatre was a powerful medium that could influence public opinion on sensitive political and religious matters.

5. Exam Strategy and Tips

Analyzing 'Entertainment for All': When evaluating the claim that theatres provided entertainment for everyone, always acknowledge the diversity of the audience but point out the rigid social divisions within the building. Use the pricing structure ( $1$ penny vs $5$ pence) and seating locations as empirical evidence for social stratification.
Link to the 'Golden Age': Treat the Globe not just as a building, but as evidence of England's growing stability and wealth during Elizabeth's reign. The shift from portable, temporary stages to permanent, expensive structures indicates a society that values culture and possesses the economic surplus to support it.
Verification of Claims: In 16-mark questions, always check if the site's function changed over time. For example, mention how the Globe was burnt down in 1613 and rebuilt, or how its eventual closure in 1642 was driven by shifting religious and political powers (the Puritans) rather than a lack of popularity.

6. Common Pitfalls and Misconceptions

The Female Role Fallacy: Students often assume women acted in Elizabethan theatre because of the famous female characters like Juliet or Lady Macbeth. It is critical to remember that these roles were exclusively played by young boys, which fundamentally shaped how playwrights wrote romance and physical intimacy.
Location Confusion: Do not place the Globe inside the City of London. It was strategically built in Bankside to evade the City Council's bans on playhouses, illustrating the constant struggle between popular entertainment and civic authority.
The 'Wooden O' Geometry: While Shakespeare famously called it a 'wooden O', calling the Globe a perfect circle in an exam is technically incorrect. It was a polygon, and acknowledging this technical detail demonstrates a deeper understanding of Elizabethan engineering constraints.

7. Connections and Extensions

Renaissance Influence: The design of the Globe, particularly its open-air amphitheatre style, was influenced by Roman designs like the Coliseum, reflecting the broader Renaissance interest in classical antiquity. This architectural choice positioned England as a culturally sophisticated peer to the great civilizations of the past.
The Great Rebuilding: The construction of the Globe was part of a wider trend in Elizabethan England where permanent, specialized buildings replaced multi-purpose medieval structures. This mirrors the development of country houses like Hardwick Hall, emphasizing a society moving toward specialization and permanent cultural monuments.

The Globe Theatre

Summary

1. Origins and the Burbage Dispute

2. Architectural Design and the 'Wooden O'

3. The Microcosm of Society: Seating and Hierarchy

4. The Business of Performance: Actors and Regulation

5. Exam Strategy and Tips

6. Common Pitfalls and Misconceptions

7. Connections and Extensions

The Globe Theatre

Summary

1. Origins and the Burbage Dispute

2. Architectural Design and the 'Wooden O'

3. The Microcosm of Society: Seating and Hierarchy

4. The Business of Performance: Actors and Regulation

5. Exam Strategy and Tips

6. Common Pitfalls and Misconceptions

7. Connections and Extensions