Shakespeare's Globe

A Theatrical Experiment
Erscheinungsjahr 2008
ISBN: 978-0-521-87778-7
Verlag: Cambridge University Press

Buch, Englisch, 304 Seiten, Format (B × H): 174 mm x 247 mm, Gewicht: 750 g

From 1997 Shakespeare's Globe flourished once more on London's South Bank after an absence of 400 years. The playhouse is now a major attraction for theatregoers, scholars, tourists, teachers and students of all ages who come to experience Shakespeare's plays and those of his contemporaries performed in their original conditions. The team of artists and education specialists who made this happen come together here to reflect on their 10-year experiment. Principal actors, designers, musicians and Globe Education staff engage with international scholars in a lively debate about the impact of this extraordinary building. Featuring an in-depth interview with former Artistic Director Mark Rylance and a contribution from Patrick Spottiswoode, Founder and Director of Globe Education, the book highlights the complex relationship between designer, composer, actor and audience which gives energy to this thriving Shakespearean centre.

Autoren/Hrsg.

Carson, Christie

Karim-Cooper, Farah

Fachgebiete

• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Theaterwissenschaft Theatertheorie, Ästhetik des Theaters, Theaterkritik
• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Theaterwissenschaft Theatersoziologie, Theaterpsychologie
• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Theaterwissenschaft Theatergeschichte

Inhaltsverzeichnis

Preface Andrew Gurr; Introduction Christie Carson and Farah Karim-Cooper; 1. The 'essence of Globeness': authenticity, and the search for Shakespeare's stagecraft Franklin J. Hildy; Part I. The 'Original Practices' Project Christie Carson; Stage Action: 2. 'Practising behaviour to his own shadow' Tim Carroll; 3. 'Original practices' at the Globe: A theatre historian's view Alan Dessen; Stage Appearance: 4. Exploring early modern stage and costume design Jenny Tiramani; 5. Cosmetics on the Globe stage Farah Karim-Cooper; Music and Sound: 6. Music and aural texture at Shakespeare's Globe Claire van Kampen; 7. Music, authenticity and audience David Lindley; Actor/Audience Relationship: 8. Research, materials, craft: principles of performance at Shakespeare's Globe Mark Rylance; 9. Democratising the audience? Christie Carson; Part II. Globe Education and Research Farah Karim-Cooper: 10. Contextualising Globe education Patrick Spottiswoode; 11. 'That scull had a tongue in it, and could sing once': Staging Shakespeare's contemporaries James Wallace; 12. Learning through Shakespeare Fiona Banks; 13. Research and the Globe Martin White; Part III. Research in Practice: Practice in Research Christie Carson and Farah Karim-Cooper; 14. Performing early music at Shakespeare's Globe Claire van Kampen, William Lyons and Keith McGowan; 15. Discoveries from the Globe stage Mark Rylance, Yolanda Vazquez and Paul Chahidi; 16. Directing at the Globe and the Blackfriars: six big rules for contemporary directors Ralph Alan Cohen; Conclusion Christie Carson and Farah Karim-Cooper; Afterword Gordon McMullan; Appendices: A list of the International Globe Theatre projects after 1970; A draft artistic policy for Shakespeare's Globe – 1988; Alan Dessen's Ten Commandments for work on the Globe stage – 1990; Production list 1997–2005; Read not Dead staged readings; List of Globe Quartos.

Über Autor(innen)

Karim-Cooper, Farah
Farah Karim-Cooper is Lecturer in Globe Education and oversees all research activities at Shakespeare's Globe.

Carson, Christie
Christie Carson is Senior Lecturer in the Department of English at Royal Holloway, University of London. Her main area of research interest is the application of digital technology to teaching and research in the field of dramatic performance history. She has created a number of groundbreaking projects in this area working with Cambridge University Press, the Performing Arts Data Service, the English Subject Centre, the British Library and the Royal Shakespeare Company. Her interests focus on the way in which contemporary performance history can be both documented and studied in new ways using digital technology. Dr Carson is also very interested in incorporating the work of creative practitioners both in the documentation and the teaching processes.