Morals, interludes, and masques were gradually brought upon
the scene. Dancers, singers, jugglers, and minstrels became
indispensable to the performances. The Church and the Theatre drifted
apart; were viewed in time as wholly independent establishments. The
actor asserted his individuality; his profession was recognised as
distinct and complete in itself; companies of players began to stroll
through the provinces. The early moral-play of the "Castle of
Perseverance," which is certainly as old as the reign of Henry VI.,
was represented by itinerant actors, who travelled round the country
for that purpose, preceded by their standard-bearers and trumpeters,
to announce on what day, and at what hour, the performance would take
place. It would seem that the exhibition concluded at nine o'clock in
the morning, so that the playgoers of the period must probably have
assembled so early as six. In the reign of Edward IV. the actors first
obtained parliamentary recognition. The Act passed in 1464,
regulating the apparel to be worn by the different classes of society,
contains special exception in favour of henchmen, pursuivants,
sword-bearers to mayors, messengers, minstrels, and "players in their
interludes.
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