The ready transfer of a man from trade to stage in the early period argues that an elaborate training, at least at the beginning, was not expected. The ready conversion of the tradesmen into actors in Histrio-mastix (Sig. B1r), once a poet has been secured, further demonstrates that the possession of a story, not the cultivation of a manner, was requisite. What the details of early acting may have been, we do not know. The conditions of training and the methods of recruitment, however, were not conducive to the development of precisely executed conventions.
The actual skills of the early Elizabethan actors can be inferred in part from references to various actors. Tarleton and Robert Wilson were commended for their “extemporall wit.” In letters dealing with English players on the Continent in the 1580’s, acting is always linked with dancing, vaulting and tumbling. Thomas Pope and George Bryan, a Lord Chamberlain’s man until the end of 1597, were among the five “instrumentister och springere” at the Danish court in 1586. These scattered allusions reinforce the opinion that simple characterization, rude playing, native wit, and physical vigor were the qualities of the early actor.
We must turn to the plays presented by the public companies before 1595 to round out the picture of the theatrical tradition. Character was not fully developed in the popular theater until Marlowe. Before his plays appeared, character had been barely differentiated from generic types, such as kings, vices, rustics, tyrants, etc. A word is necessary about generic types. Each of the generic types arises from a social class, and the characters within each type reflect their class. Differences between generic characters of the same type are not as great as similarities. Some distinctive habits of thought and behavior cluster about each type, but these are never rigidly fixed. Simple representatives of the generic type are the merchant and the potecary in John Heywood’s interludes of The Weather and The Four PP. respectively. The generic type differs from the stock figure partly in source but mainly in definition. The stock figure tends to coalesce into a single perfect representative of each type: a Scapin, a Columbine, a Harlequin. The generic type encourages multiplicity. The stock figure, such as the doctor from Bologna, often has a regional origin. From the region of his birth he usually derives physical or social idiosyncracies, for example, a dialect, an item of apparel, or a distinctive manner. As the stock figure develops, additional external features become attached to him. Certain bits of stage business, quirks of personality, modes of dress, and style of playing, become his trade-marks. But the generic character seldom becomes fixed and traditional. Instead, he constantly undergoes change according to the demands of the story.
The early popular plays definitely show that the actors were used to playing generic characters. Thus, they were able to concentrate on the story, the sentiment, and the sententiousness of their plays. In limited ways they relied on dress to identify types of characters. Alan Downer has shown that there was some symbolism in costume. Hotson has traced the evolution of a distinctive garment for the Elizabethan “natural.”[17] Henslowe lists certain costumes which were probably generic or symbolic. But features of dress remained generalized rather than becoming attached to a stock type. Whether habits of carriage or gesture corresponded with types of roles, we do not know. But it is certain, as we found in our study of rhetoric, that no traditional, systematic scheme of vocal and physical conventions developed.
Actually, in a rudimentary way, the early plays show tendencies toward the kind of structure described in the [chapter on dramaturgy]. In Cambises, it is not the discovery or death of Sisamnes which occupies our attention, but the responses of the son, Otian, to his father’s execution. Affective display and rhetorical pronouncement occupied the center of the stage. Some time ago, Albert Walker demonstrated that the methods for expression of emotions in the pre-Shakespearean plays can be found in Shakespeare’s plays.[18] Many of the ways of portraying grief, joy, anger, rage, could be and were handed down from one theatrical generation to another. For the actor, the projection of grief in the following speeches would not be very different in each case.
Otian. O father dear, these words to hear
—that you must die by force—
Bedews my cheeks with stilled tears.
The king hath no remorse.
The grievous griefs, and strained sighs