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Encyclopedia > Playing company

In Renaissance London, playing company was the usual term for a company of actors. These companies were organized around a group of ten or so shareholders (or 'sharers'), who performed in the plays but were also responsible for management. The sharers employed 'hired men' - that is, the minor actors and the workers behind the scenes. Each company was based at one or two specific theatres in London; for example, William Shakespeare's company, the King's Men, were based at the Globe Theatre and the Blackfriars Theatre. By Region: Italian Renaissance Northern Renaissance -French Renaissance -German Renaissance -English Renaissance This article is about the cultural movement known as the English Renaissance. ... London is the capital city of the United Kingdom and of England. ... Actors in period costume sharing a joke whilst waiting between takes during location filming. ... A shareholder or stockholder is an individual or company (including a corporation), that legally owns one or more shares of stock in a joint stock company. ... Wikipedia does not yet have an article with this exact name. ... Different people known as the Kings Men: Kings Men was William Shakespeares playing company, together with Richard Burbage et al. ... This article is about the Globe Theatre of Shakespeare, both the original and its modern reconstruction. ... Blackfriars Theatre was the name of two separate theatres in London, built on grounds previously belonging to a Dominican monastery. ...


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William Shakespeare - Wikipedia, the free encyclopedia (4379 words)
The earlier plays range from broad comedy to historical nostalgia, while the middle-period plays tend to be grander in terms of theme, addressing such issues as betrayal, murder, lust, power, and ambition.
In addition, the fact that Shakespeare did not produce an authoritative print version of his plays during his life accounts for part of the textual problem often noted with his plays, which means that for several of the plays there are different textual versions.
These plays, which blend piety with farce and slapstick, were allegories in which the characters are personified moral attributes who validate the virtues of Godly life by prompting the protagonist to choose such a life over evil.
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