"Romeo and Juliet" was likely performed at the Globe Theatre during Shakespeare's time, but the exact number of performances is unknown. The play was popular during that era so it would have been staged multiple times, though the specific number is not recorded.

The main use of the word "therefore" in Shakespeare is to mean "therefore", which is just what you would expect, since he was writing in Modern English. There is an interesting line in Midsummer's Night's Dream where Demetrius says to Hermia:

"And if I could, what should I get therefore?"

Sometimes this is spelled "What should I get therefor." Either way, it means, "what should I get for it," or "what should I get as a result", or "what should I get as a consequence". "As a consequence" is the same as the ordinary meaning of therefore, and one can easily imagine Hermia responding, "If you could, I would therefore give you a privilege never to see me more."

Shakespeare created setting by using descriptive language in his plays to depict the time and place of the story. He often included details about the physical environment, such as the weather, architecture, and geography, to help establish the setting for the audience or reader. Additionally, Shakespeare would use dialogue and interactions between characters to further immerse the audience in the world he was creating.

A theater break is typically an intermission during a performance, allowing the audience to take a short break, stretch their legs, use the restroom, or grab a refreshment. It usually occurs halfway through a show to give both the cast and the audience a breather.

A talking globe can help children learn about geography in a fun and interactive way. It can spark their curiosity about the world, help them understand different cultures, and improve their knowledge of geography. Additionally, it can enhance their language and cognitive skills as they navigate the globe and listen to the information provided.

The Globe Theatre had two levels of balconies, known as the first and second galleries. Each balcony level offered seating for audience members to watch the performances.

The Globe Theatre was a famous playhouse in London where many of William Shakespeare's plays were performed. It was built in 1599 and was known for its unique design, including an open-air circular structure and a thatched roof. The original Globe Theatre was destroyed by fire in 1613, but a modern replica stands in its place today.

William Shakespeare

Absolutely not! Shakespeare had already been an actor for about 10 years before the Globe was built and had performed in The Theatre, The Curtain, Newington Butts and The Rose Theatre. He also performed regularly in the Blackfriars Theatre (an indoor theatre) after the King's Men opened it as their winter venue in 1608. In addition, the theatre companies were called upon to perform in places outside of the theatres, including the homes of the nobility, the royal palaces, large public halls like those in the Inns of Court (Twelfth Night was played there), and all kinds of temporary acting spaces created when the company went on tour.

About 2 o'clock.

a hemisphere.

Toby. In recent years, Toby the dog has fallen out of favor and is not part of the main cast. He will make occasional appearances, at the discretion of the performer. Punch and Judy, however, does not have an definitive story.

Everyone behaved badly,they had no patience

After Shakespeare joined the Lord Chamberlain's men in 1594, their home was a theatre called The Theatre. However, the owners of the building (the acting family of the Burbages) and the owners of the land got into a dispute and in 1597, the Theatre was closed. They moved to a different playhouse nearby called The Curtain while the dispute dragged on. Finally the Burbages with some of their friends came onto the land and took The Theatre down and moved its timbers to a space south of the river in an area called Southwark. They built a new theatre called The Globe in 1599. In order to finance it, the Burbages took on a group of partners from among the players in the company, including Shakespeare. Later, in 1608, The Lord Chamberlain's men (who by that time were called The King's Men) began to play also in an indoor theatre called the Blackfriars which the Burbages had bought some time earlier. This became their winter home.

"http://wiki.answers.com/Q/Does_the_globe_theatre_smell"

Approximately 60.4% of Malaysia are Muslims, and there are about 25,274,132 people in Malaysia. So that would mean about 15,265,636 people in Malaysia are Muslims Hope it helped ya...................................................................................Chris L., gr.6/09 Approximately 60.4% of Malaysia are Muslims, and there are about 25,274,132 people in Malaysia. So that would mean about 15,265,636 people in Malaysia are Muslims Hope it helped ya...................................................................................Chris L., gr.6/09

Realism, the movement with the most pervasive and long-lived effect on modern theatre, was conceived as a laboratory in which the ills of society, familial problems, and the nature of relationships could be "objectively" presented for the judgment of impartial observers. Its goal, of likeness to life, demanded that settings resemble their prescribed locales precisely and seem like rooms from real life in which one wall have been removed. The playwright Henrik Ibsen initiated the realistic period with plays focused on contemporary, day-to-day themes that skillfully reveal both sides of a conflict through brilliantly capturing psychological detail. Anton Chekhov, in Russia, would bring the form to its stylistic apogee with plays whose even minor characters seem to breathe the air we do and in which the plots and themes are developed primarily between the lines. An independent but concurrent movement, naturalism, would be an even more extreme attempt to dramatize human reality without the appearance of dramaturgical shaping. While realist plays would address well-defined social issues, naturalist plays offered a simple "slice of life" free from dramatic convention. With the same reverence for nature, the human being was conceived as a mere biological phenomenon whose behavior was determined by heredity and environment. A counterforce to realism, initiated by symbolism, began in the late nineteenth century that would expand into what might be called antirealistic theatre. Symbolism would contest realism's apparent spiritual bankruptcy with a form that would explore, through images and metaphors, the inner realities of human experience that cannot be directly perceived. A focus on traditional aesthetic values, such as poetry, imagery, and profundity would reflect the importance of purity of vision over observation, abstraction and enlargement over the mundane and ordinary. The movement spread quickly and affected every aspect of theatrical production. Symbolism's contestation of realism gave rise to an era of "isms," during which the aesthetics of dramatic art assumed a new social and political significance. Such "isms" became, in time, used consciously as stylization in new dramatic formats. Such antirealistic theatre does not discard reality but enhances it with symbol and metaphor, elucidates parable and allegory, deconstructs and reconstructs subjects through language, scenery, and lighting, and finally uses the theatre's own theatricality explicitly. Briefly examining eleven of these movements makes the diverse qualities and perspectives within antirealistic theatre apparent. From the emotional and "irrational" perspectives of Theatre of Cruelty to the rational and thought-provoking nature of Intellectual Comedy, pre-World War II antirealistic approaches such as Expressionism, Theatricalism, and the French Avant-Garde challenged and extended the limits of theatrical art. Through redefining the importance and function of language, extending the concept of character to include abstract forces or archetypes, reconstructing stage imagery through metaphoric scenery and lighting, and exploring themes often tinged with anxiety, such isms and stylizations have created much of the theatrical language used on today's stages. Following World War II, Theatre of Alienation would introduce new theatre practices and reawaken theatre's sense of social responsibility, while the Theatre of the Absurd would express the futility of all action and pointlessness of all direction. Philosophical Melodrama accepted the Absurd's premise that humans are alone in a silent universe, but takes it as a challenge to creating an effective life. The Comedy of Contemporary Manners would unmask the ridiculousness of social convention, while Political Satire ruthlessly reveals the hypocrisies and exploitations of political and economic systems within a comedic and often highly stylized framework. The Case Study uses, most often, medical problems as a perspective for philosophical investigations, frequently taking the audience into and back out of the "patient's" experience. By contrast, the ostensible realism of Suprarealism is actually suffused with a menacing obscurity and mythic symbolism that seeks out patterns below surfaces.

Not just the Globe Theatre but any theatre. I think its to do with acting being thought as a disreputable enterprise and not the kind of thing women should get involved in.

In Shakespearean times, the layout to modern theatres were very different; in those days women were not allowed to perform. Men had to dress up as women to perform. {usually it was boys about 13 before they went through puberty}

Also, Shakespeare was influential in his formation of a story. He included multiple plot twists and complicated story arcs. He intertwined characters and created love triangles. He was famous for his poetic wording and unique, clever language.

Writers today use his strategies to create interesting plays. They aspire to create a play as timeless as Romeo and Juliet or Hamlet.

Yes there was. Henry V111 (Elizabeth's father) had renounced Roman catholicism. The main religion was Church of England

i know of two ways to counter the curse.

One is to go outside, turn three times counter-clockwise and spit over your shoulder (either will do).


The other, which my school is using, is to say "Angels and ministers of Grace defend us." at the beginning of each rehearsal and to close each rehearsal by saying:
"If we shadows have offended, think but this and all is mended, that you have but slumbered here, whilst these visions did appear."
We say the end bit as a group before we light the ghost light each night.

William Shakespeare made his money through the theater group that he wrote, produced and acted for. He did not have one person in particular backing him, but members of the community who appreciated his talents.

A globe can be twirled around so that you can find the place that you are looking for. You can see where lands are in proportion to one another.

Opera evolved from Oratorio- which is sort of sung prayers that follow a certain plot ( such as the Passion Play) and while there is no acting, small bands of ( Pilgrims) no specific costume, may follow the priest around the church while the bulk of the congregation remains seated. Such a work is the Stabat Mater- roughly standing Mother. This was used during the Lenten stations of the Cross and for some odd reason was wildly popular with women. The narrative revolves around, essentially the same path as the ( Passion of the Christ). The odd thing is the entire narrative is based mainly on one song ( or hymn, for lack of a better term) and a good many verses. It starts out on the grim note: With his Bleeding arms suspended!) so you know what to expect. The entire work is essentially based on one song.