(Enter first from the topmost rock Rosaura, as from horseback, in man’s attire; and, after her, Fife.)
As the crash course video stated, this was the first period in a long long time that women performed, due to the church finding cross-dressing immoral-- so, that leaves me wondering how the church felt about a woman who then cross dressed as a man. Like, thank god there are finally professional women performers, but doesn't this add even more controversy?
Would not this, sir, and a forest of feathers, if the rest of my fortunes turn Turk with me; with two Provincial roses on my razed shoes, get me a fellowship in a cry of players, sir? HORATIO. Half a share.
Accoring to On the Economics of the Theater in Renaissance London by Mary Oates and William Baumol, "leading actors in a theatrical company held stock in the company, shared in its profits, and were called 'sharers' or 'fellows'." So, Horatio is telling Hamlet that he's not made any more than his original investment.
[Raising his staff angrily.]
In the Natya Shastra, Bharata Muni wrote in depth on how actors should portray anger: "One should show anger ... with knitting of eyebrows, fierce look, bitten lips, hands clasping each other, and touching one's own head and breast".
Artemis, Lady of Thebes, high-throned in the midst of our mart! Lord of the death-winged dart! Your threefold aid I crave From death and ruin our city to save.
Similar to how the chorus called upon Athena for her help, so too do they call upon Artemis for her own assistance. Historically, she is the Goddess of hunting and the sister of Apollo, so naturally she was highly respected, as any other God/Goddess was.
First on Athene I call; O Zeus-born goddess, defend! Goddess and sister, befriend,
'Athene' in this refers to the Greek Goddess 'Athena', who historically represented strategic war, protection, etc - thus, why the chorus calls upon her to help in their endeavors.