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Shakespeare and the Stage / With a Complete List of Theatrical Terms Used by Shakespeare in His Plays and Poems, Arranged in Alphabetical Order, & Explanatory Notes cover

Shakespeare and the Stage / With a Complete List of Theatrical Terms Used by Shakespeare in His Plays and Poems, Arranged in Alphabetical Order, & Explanatory Notes

Chapter 67: JULIUS CÆSAR
By Maurice Jonas
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About This Book

A historical and practical study of dramatic performance and stagecraft that traces how medieval religious spectacles gave way to secular comedy and tragedy, examines inn-yard presentations and purpose-built playhouses, and surveys company organization, acting practice, court performances, and theatrical allusions. The work describes theatre architecture, audience arrangements, production practices, and contemporary documents and illustrations, and concludes with an alphabetically arranged glossary of stage terms associated with Shakespeare, each entry supplied with explanatory notes to clarify period usage and theatrical meaning.

JULIUS CÆSAR

CLAP. HISS. PLAYERS. THEATRE.

If the tag-rag people did not clap him and hiss him, according as he pleased and displeased them, as they used to do the players in the theatre, I am no true man.

I, 2, 258.

These terms “clap” and “hiss” seem to have been the usual methods of showing signs of approval and disapproval in the theatre in Shakespeare’s time, as it is still with us. Dryden confirms this statement by mentioning that to clap and hiss are the privileges of a freeborn subject in a playhouse. Pepys, in his Diary, 1669, says: “Indeed, it was very finely sung as to make the whole house clap her.” Both these methods were adopted by the spectators in all playhouses in Europe. In the Spanish theatres, when the players said anything that pleased the audience, everybody cried out “Victor! Victor!” This was a custom peculiar to their country. They also had another custom which, fortunately, did not travel beyond the confines of Spain, when they wished to show signs of disapproval either with the play or the actors, they did so by blowing a whistle, much after the fashion of our football enthusiasts when a goal has been scored.

ACTORS.

Let not our looks put on our purposes,
But bear it as our Roman actors do
With untired spirits and formal constancy.

II, 1, 226.

PLAYS.

He reads much,
He is a great observer,
He loves no plays, as thou dost, Antony,
He hears no music.

THEATRE.

That done, repair to Pompey’s theatre.

JIGGING.

What should the wars do with those jigging fools?

IV, 3, 136.

MASQUER. REVELLER.

A peevish schoolboy
Joined with a masker and a reveller.

ACTED. SCENE.

How many ages hence shall this our lofty scene be acted over.

III, 1, 112.

A favourite device of Shakespeare, often repeated in his plays, of making his characters allude to the stage, thus enveloping his own imaginary dramatic efforts with a reality, which almost deceives the audience that they are witnesses of living actions.