My experience viewing in 1869 - Essay Example

My experience viewing in 1869 The week has been tedious, and I feel worn out. I have labored a lot in the gardens, and I sincerely feel the need to take a break. Life in London is busy and expensive. It differs from many places I have lived before. The size of my money bag constrains my expenditure. It is not an easy city to live in especially when for are a young lad belonging to my social class. As a commoner, I find it rough surviving in this Elizabethan city (Wilson &Alvin 11). I toil the whole week to secure a few pennies for sustenance. Please do not confuse my sentiments for a complaint, am simply airing out my frustration. I enjoy talking to you friend because you hardly talk back at me. After all, to whom can I vent my anguish save thee. I wait patiently for this afternoon’s performance at the globe amphitheatre. I do not understand why the clergy brand amphitheatres as immoral (Wilson &Alvin 13). After many visits to the theatres, my religious beliefs have remained unchanged. Am particularly glad that this week’s play will be a comedy. With all this exhaustion and boredom, I do not think that I would appreciate a sad story. I enjoy comical plays because they help me forget my woes, and tickle me to a good laugh (Wilson &Alvin 13). I enjoy visiting the globe theatre because of its stunning performances written by playwrights of acclaimed status such as William Shakespeare. I have watched his other plays before, and I must confess that they truly are a masterpiece, I love the way his plays capture the happenings in the society. I wait with eager anticipation for a good treat in his latest play christened “Much ado about nothing”. Though my earnings are meager, I have learnt over time the importance of sparing at least a penny or two for these plays (Wilson &Alvin 16). I must get on my way now, failure to which I might lack a convenient spot to view the play. Multitudes crowd the streets headed to the globe amphitheatre. Most theatergoers prefer this theatre to others because accommodates people from all walks of life and affords friends opportunity to mingle. The globe opens its doors to all people without discriminating on social status, religion or gender. It is a magnificent sight to behold with a sitting capacity of about 1500 people. The amphitheatre has limited artificial lighting that is why most performances occur during the afternoons (Wilson &Alvin 16). I am finally at the grounds of the globe amphitheatre. As expected, the grounds are crowded with playgoers. There is an array of activities with merchants selling refreshments to the playgoers. Just by looking at the dress code of the playgoers I can almost tell that this play has attracted more groundlings than the previous one. I make my way to the stall selling hazelnuts and oranges, and I purchase some for my refreshment during the act. At the entrance, to the globe is a box where all playgoers deposit their entrance fee (Wilson &Alvin 17). I join the growing queue and after a few minutes am at the entrance. Upon placing my entrance fee in the box, I find my way to the theatre pit from where i will catch the play. On arrival at the pit, I discovered that I am amongst the first of to arrive in this section. I am fortunate to find sitting place on the standing grounds. Fellow commoners soon join us at the theatre pit (Wilson &Alvin 19). The nobles, who pay an excess of four pennies, take their well cushioned seats in the three level galleries surrounding the central yard. This comical play has attracted large numbers of spectators. The audience comprises members of different social classes; the lower class by the groundlings at the theatre pit, and the upper class by the nobles in the Lord’s rooms. The Lord’s rooms are behind the stage sheltered from the elements used in the play. I see the nobility class adorned in apparels that define their upper social class. Some of them mask their faces to hide their identity (Wilson &Alvin 19). Royalty is also represented in this audience except for the Queen, who would rather have private performances at the palace. Precious diary, i must also inform you that one of the purposes as to why most of us frequent the theatres is to socialize. I am thrilled to meet an old time friend at this place. Since he migrated from Canada, Thomas has been a regular visitor to the Elizabethan theatres. We take time to catch up on old times as I peel and share an orange with him. We get into a brief discussion concerning the differences of London and Canadian theatres (Wilson &Alvin 21). Thomas is passionate about performance art; this is revealed by his enthusiastic account of the plays he has watched in the two theatres. He draws my attention to the marked differences that subsist between the theatres in these two different Countries (Wilson &Alvin 21). Our discussion comes to a sudden stop by the orator who informs us that the play is about to start. My attention switches to the apron stage that lies a few meters from where I sit. The stage platform is slightly raised off the ground. The stage has trap doors that serve as exits and entrances for the actors and actresses. The rear portion of the stage has a roof over it. This roof bearing images of the sky is supported on either side of the platform by four large columns (Wilson &Alvin 21). The stage has tiring rooms on the first floor from where the performers change their apparel and await their entrance. The musicians are housed on the second balcony. The play “Much ado about nothing” commences has characters adorned in apparels that reflect their differing social class in the play. Performers- while on stage- are exempt from the law which restricts the citizenry to dressing according to their social class. Some of the costumes used in this play are donations given to the theatre by the well-to-do patrons. The play has two sets of lovers. Benedick and Beatrice refuse to confess their love, while Claudio and Hero are openly passionate about their affection for each other (Wilson &Alvin 23). Benedick’s costumes included; a flat cap, a black leatherette fabric with a black cotton lining. Beatrice is adorned in a ruff, a black organza and a black iridescent taffeta. Claudio's costume consists of; a flat cap, a brown leatherette fabric, and a black cotton lining. Heros was a ruff, a satin stripped organza, and a rust iridescent taffeta lining. The set has an array of props which include daggers and swords, chairs, stools and tables, goblets and plates (Wilson &Alvin 23). The play begins with the first couple; Benedick and Beatrice engaging in bitter exchanges. They refuse to confess their love. Then enters the second pair of Claudio and Hero. Claudio loves hero, but Don John tricks him, and he rejects Hero at the altar accusing her of infidelity. Leonardo; Hero’s father reprimands her daughter for shaming him. The Friar has a believe that the Hero is not guilty and devises a plan to fake her death so as to get to the truth. Leonat0 blames Claudio for the demise of his daughter and challenges Claudio to a duel (Wilson &Alvin 26). The challenge fails to materialize as the comically presents Borachio and his gang which helped Don John carry out his mischief. The cons confess of Hero’s innocence. Overcame with remorse, Claudio repents of his rash decision and commits to taking Hero’s cousin for a wife. On the wedding day, Hero wears a mask to disguise as the supposed cousin. Claudio is surprised to find out that his supposed bride is Hero. In this very scene, Benedict and Beatrice publicly confess their love and the entire cast breaks into an impromptu dance as the play draws to an end (Wilson &Alvin 26). Finally, I must admit that i had fun today at the theatres. I look forward to the next act. Having rested, i can finally go back to my busy schedule. Work cited Wilson, Edwin. & Alvin, Goldfarb. Living Theatre: History of the Theatre. New York: McGraw-Hill, 2012. Print. Read More