Dramatic Effect

in Shakespeare’s Theatre

Whilst the theatre of Shakespeare did not have access to the technology we have today, is was still dynamic on stage in its day. Effect was produced through language and the actor’s physical self. The audience also needed to use their imaginations to help create the dramatic effect needed on stage.

-      Shakespeare was able to achieve effect by his defined stagecraft - he was the master of contrasting scenes with scenes, character with character, silence with speech.

-      He used sub-plots which gave significance and meaning to the main plot and he was able to intertwine tragedy with comedy.

-      Additionally, he ensured that conflict was always present and episodes of dialogue or moments of reflection were carefully balanced with dramatic spectacle such as trial scenes, murders, banquets, witches, ghosts, the exposure of disguised characters, shipwrecks etc.

Shakespeare also provided moments of great dramatic tension:

-      Hamlet leaps onto Ophelia’s grave

-      Juliet awakes in a vault to find Romeo dead beside her

-      Lear rages against a storm

-      Shylock prepares to cut a pound of flesh from Antonio’s breast.

Critical Incidents and Opening Scenes

There are some moments in Shakespeare’s theatre that have significant climatic intent: the appearance of the ghost to Hamlet, Mercutio’s death, Ophelia’s madness, the quarrel of Hermia and Helena, the meeting of Oberon and Titania etc. Look for these moments of critical tension and think about how they affect the throughline of the play.

In each opening scene of every play, Shakespeare used language and context that worked to arrest the audience’s attention - each tragedy opened with a scene that somehow heralded some kind of catastrophe: Iago plots against Othello; Antony rejects Rome for Cleopatra; Hamet’s father’s ghosts appears as Denmark prepares for war; King Lear rejects Cordelia and banishes Kent, the witches plan to meet Macbeth; the Montagues and Capulets have a bloody brawl. (adapted from Gibson, p.146)

It is the opening scene of any play that works to grab the attention of the audience but in Shakespeare’s plays, this can be elaborate and dynamic. Take for example, the opening scene of ‘The Tempest’ – a ship on the open sea. How might this be managed on stage so that props are simple and effective?

In ‘Macbeth’, the opening scene also lends itself to great possibilities – the three witches vow to meet Macbeth after the battle. Spirits call to them and they leave chanting ominous and powerful words:

First Witch: When shall we three meet again?

                   In thunder, lightning, or in rain?

Second Witch: When the hurly-burly’s done,

                        When the battle’s lost and won.

Third Witch:    That will be ere the set of sun.

First Witch:      Where the place?

Second Witch: Upon the heath.

Third Witch:    There to meet with Macbeth

First Witch:      I come, Graymalkin

Second Witch:  Paddock calls

Third Witch:   Anon

All:                 Fair is foul and foul is fair

                      Hover through the fog and filthy air.

(in Gibson, p.147)