British Museum blog

Archaeological findings at Shakespearean playhouses

Shakespeare’s Restless World is currently being broadcast on BBC Radio 4. Today’s episode Snacking Through Shakespeare: A Theatre Goer’s Fork looks at what it would have been like inside Southwark’s playhouses.

Fruit seeds and nutshells from the Rose Theatre © Museum of London


Julian Bowsher, Senior Archaeologist, Museum of London Archaeology

Excavations have been carried out at the sites of quite a range of Shakespearean playhouses, including from the site of the Theatre built by James Burbage in 1576, the Rose built in1587. We’ve also found a small area of the Globe built in 1599 and another small area of the Hope built in 1614.

The excavation at the Rose playhouse in 1988-90 was certainly the largest excavation and has produced the greatest amount of evidence about the construction of these types of buildings. It was the first time we’d seen one of these playhouses for 400 years. Being able to understand the layout of these buildings and the position of the stage and the galleries have been very important discoveries.

But we’ve also recovered many artefacts that enable us to look at the average Elizabethan theatre-goer in terms of foodstuffs, clothing and personal items.

There are a number of contemporary accounts saying that you could buy food and drink within these theatres. Amongst the groundlings standing in front of the stage, people would have sold their wares, rather like the old cinema usherettes with a tray on a strap around their neck. The theatres didn’t have any room for a bar or foyer in a modern sense so things like nuts, apples, fruit, beer, or wine, or water could all be bought inside.

We know that people were eating shellfish; oysters, muscles, periwinkles, whelks, we even found a cuttlefish. The groundlings would have just dropped the shells on the ground, although they would have been swept up at the end of the day – most of the shells we’ve found are in the dumps at the back of the building.

In contrast, the richer members of the audience sitting up in the galleries would have probably brought their own food, drink, glasses and cutlery. Everybody had their own set of cutlery, although that usually meant a spoon and a knife because forks were very rare at this time.

A plan of the excavation at the Rose playhouse. The fork featured in today's programme was found in the top left corner of the stage. Click on image to enlarge. © Museum of London

The fork that features in today’s programme was found in a layer underneath the stage area of the Rose. We know it was buried there in 1592 because, like many buildings, the Rose underwent a series of alterations and enhancements and a new second stage was built at that date. Amongst the debris, in between the two stages, was this fork.

Shakespeare’s Restless World is on BBC Radio 4
from 16 April to 11 May, at 13.45 and 19.45 weekdays.

Listen to today’s programme Snacking Through Shakespeare:
A Theatre Goer’s Fork

Find out more:
Museum of London Archaeology
Excavations at the Rose

Filed under: Shakespeare's Restless World, What's on, , ,

One Response - Comments are closed.

  1. Thanks for posting the information I will have to tune in!🙂

    Like

Enter your email address to follow this blog and receive notifications of new posts by email.

Join 16,387 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

The grandeur of the Enlightenment Gallery is captured in this superb photo by @ykyoon5. This space was formerly known as the King’s Library, and was the first part of the ‘new’ 1823 Museum building to be completed. Careful restoration work began in the year 2000 to revive the room to its previous glory, and this is what visitors see today. The oak and mahogany floor and classical architectural features were cleaned and repaired after nearly 200 years of welcoming visitors. Hundreds of square metres of plaster were restored, along with the yellow and gold ornamentation on the ceiling. The balcony was also regilded and the whole room retains its Regency pomp.

#BritishMuseum #regram #Regency #interiors #restoration We’re sharing our favourite photos taken by visitors – use #myBritishMuseum if you’d like to feature! Here’s a brilliant shot by @j.ziolkowski that really captures the cool tones of the Great Court. We love the collision of lines in this photo – the hard edges of the original 1823 building set against the curvature of the later Reading Room and tessellation of the glass roof. 
Get snapping if you’d like to feature in our next #regram. 
#BritishMuseum #architecture #perspective #GreatCourt This Degas print is an example of the subject matter and technique the artist moved towards in the early 1890s. During this time, Degas produced sketchy prints showing female figures post-bathing. In this print we can see that the ink has been reworked during the printing process – the hair and shoulders show evidence of additional brushstrokes. The backgrounds of these works are much more sketchy and blurred than works he produced earlier in his career, perhaps showing his increased interest in figures.
#Degas #print #portrait The intense gaze of this young woman was originally intended to appear in the background of a horse racing scene by Degas, but the painting was never completed. This type of challenging composition is typical of the French artist’s work – he liked to crop the viewpoints of his paintings and sketches to create a different atmosphere. The coolly returned stare reverses the traditional relationship between viewer and subject, and emphasises Degas’ progressive approach to painting.
#Degas #painting #sketch #Paris French artist Edgar Degas died #onthisday in 1917. Today we’ll feature works that showcase his radical approach to framing subjects, and his subtle handling of form and tone. This vivid oil sketch from 1876–1877 depicts a repeated motif in Degas’ work – the Parisian ballet. He captured both performances and behind-the-scenes moments in his paintings and sketches, often using vantage points that give a fly-on-the-wall impression to his work. Degas worked rapidly but precisely – mirroring the movements of the dancers he portrayed – and this work is completed in thinned-down oil paint so that his quick brushstrokes could dry quickly.
#Degas #sketch #oilpainting #Paris #ballet Our #SunkenCities exhibition is the first at the British Museum on underwater archaeology. Over the last 20 years, world-renowned archaeologist Franck Goddio and his team have excavated spectacular underwater discoveries using the latest technologies. 
At the mouth of the Nile, the city of Thonis-Heracleion flourished as the main entry point into Egypt. Underwater excavations have found a large harbour, numerous ships and anchors, proving this was an international port. This magnificent monument was crucial to revealing that Thonis (in Egyptian) and Heracleion (in Greek) were in fact the same city. The decree was issued by the pharaoh Nectanebo I, regarding the taxation of goods passing through Thonis and Naukratis. A copy was found in the main Egyptian temple in each port. The inscription states that this slab stood at the mouth of the ‘Sea of the Greeks’ (the Mediterranean) in Thonis. 
Learn more about the connections between the ancient civilisations of Egypt and Greece in our #SunkenCities exhibition - until 30 November. Follow the link in our bio to find out more about it. 
Stela commissioned by Nectanebo I (r. 378–362 BC), Thonis-Heracleion, Egypt, 380 BC. On loan from National Museum, Alexandria. Photo: Christoph Gerigk. © Franck Goddio/Hilti Foundation.
%d bloggers like this: