Sound practice in different periods

Student’s Name
Professor’s Name
Course
Date
How does the Sound of Contemporary Theater differ from the Theater during Shakespeare’s Time?
There were several theaters in the Elizabethan period; all were well attended since plays were a primary form of entertainment. Actors interacted with the audience as they were in the same room and the groundlings had an opportunity of communicating with the actors (Rost 188). There were two large doors at the back of the stage, while at the center of the platform there was an inner stage that was hidden by a curtain. Because there was no lighting, plays happened in the afternoon, and the scenario of poetry formed the atmosphere.
In Shakespeare’s time, all actors were men, and boys played the part that was meant for women. A company composed of fifteen members of players that equally divided the profit amongst themselves. In the likes of Shakespeare’s acting, some roles were specialized, and play writers wrote parts that were specifically meant for the actors. In the Elizabethan era, the audience came from all levels of the society (Busse 61). The groundlings stood in the horseshoe royalty and shape in the galleries that were covered around the stage. During Shakespeare’s period, the audience demanded vigorous excitement and actions, especially the groundlings. They also celebrated in words, plays and puns (Rost 189). Likewise, people within the higher social class were delighted in the beautiful musicality and poetry of the language used in the acting.

Actors in the present time are different from those of Elizabeth’s times since the social class of the audience does not have a significant difference. The language being used in the modern times is not as rude since the actors do not have to appeal people of a lower privileged. Those that write the script have their work protected by copyrights, and it cannot be stolen as was the case in the Elizabethan times. Works Cited
Busse, B. Vocative constructions in the language of Shakespeare. John Benjamins Pub. Co, 2006.
Rost, K. “The shaping of ‘good sound’ in handbooks for theatre sound creation.” Theatre and Performance Design, vol. 2, no. 3-4, 2016, pp. 188-201, doi:10.1080/23322551.2016.1226073.