Philip henslowe diary of anne
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I found this wonderful magazine article in Belgravia, an Illustrated London Magazine, published in 1878. It describes the history of props in Western European theatrical traditions up to the late nineteenth century. I’ve split it into several sections because it is rather long and covers a multitude of subjects, which I will be posting over the next several days.
Stage Properties by Dutton Cook, 1878
‘In the mean time, I will draw you a bill of properties such as our play wants,’ says Peter Quince, the carpenter, when the performance of ‘the most lamentable comedy and most cruel death of “Pyramus and Thisby” has been duly agreed upon by the ‘crew of patches, rude mechanicals that work for bread upon Athenian stalls.’ ‘Properties’ have been, time out of mind, indispensable to theatrical exhibitions. When Melpomene first appeared, she grasped a ‘property’ dagger; when Thalia entered upon the scene, she ca
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Ep 86: Amy Lidster about Philip Henslowe’s Diary
One particularly fascinating record from Henslowe’s diary is a dragon for Christopher Marlowe’s Dr. Faustus production.
From Henslowe’s diary, the famous “Dragon” listed in his records as part of an inventory of all the props held by the Admiral’s Men, was taken in March 1598, specifically for use in Marlowe’s play, Dr. Faustus. We know because the line item (though agonizingly brief with nothing to follow) says “one dragon in Faustus”
Mephistopheles flying over Wittenberg, in a lithograph by Eugène Delacroix. Source
Critics have debated where this dragon appears in the play, but it seems likely that it was a disguise for Mephistopheles, the demon that appears to Faustus throughout the play. In one text of Dr. Faustus, he calls upon the devil and a spirit, during which he says “dragon” and that seems to be a misplaced stage direction describing the appearance of the character when he first comes o
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Philip Henslowe 1550-1616
Philip Henslowe was an relaterat till elizabethansk tid theatrical impresario, and one of the most energetic – and certainly best known – of London entrepreneurs. He is most famous for his activities in the world of theatre but, realising the huge potential of entertainment generally, he first cornered the brothel trade, then the idrott of bear-baiting, and then moved into theatre, where he became the biggest name in theatre management. When people talk about the ‘golden age of English drama’ there may not have been that golden age if it hadn’t been for him.
Apprenticed to a dyer as a ungdom, Henslowe married his master’s wealthy widow and set about acquiring property around Southwark. He opened more brothels, went into money-lending, pawnbroking, starch-making and even trading in goatskins. Soon he was making his own money and becoming very rich.
When he became interested in the financial possibilities of theatre management Henslowe built the Rose Theatre nära S