the globe theatre assignment

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• Did You Know? 10 Facts about Shakespeare’s Globe Theatre Situated on London’s Bankside, Shakespeare's Globe Theatre reconstructs the open-air playhouse where the playwright penned his greatest work. Take a look at our 10 dramatic Shakespeare's Globe Theatre facts, including... Citation... Hide... Pearson, Matthew. “Did You Know? 10 Facts about Shakespeare’s Globe Theatre.” London Pass , Go City, londonpass.com/en-us/blog/did-you-know-10-facts-about-shakespeares-globe-theatre.
• Globe-al dominance: The rise in reconstructed Globe theatres Shakespeare’s Globe Theatre is the most recognizable early modern playhouse and, as a result, the subject of numerous reconstructions and reimaginings. Currently there are more than fifteen reconstructions, with more being built. The last few years have seen a rise in ‘modernized reconstructions’ (or ‘modconstructions’) across the world. Citation... Hide... Manning, Michelle. “The Rise in Reconstructed Shakespeare Globe Theatres.” Shakespeare & Beyond , Folger Shakespeare Library, 27 Mar. 2018, shakespeareandbeyond.folger.edu/2018/03/27/rise-in-reconstructed-globe-theatres/.
• The Globe Theatre Globe Theatre study guide with sections that include: Description of the Original Globe (1599), Location, Builders, Owners, First Performances, Second Glove, Featured Authors, Shakespeare’s Acuting Company, Actors, Special Effects, Costumes, Stunts, Audiances, Other Playhouses in London, and many more. Citation... Hide... Cummings, Michael. “The Globe Theatre.” Shakespearestudyguide.com , 2019, shakespearestudyguide.com/Globe.html.
• The Globe Theatre: Shakespeare Lost & Found The Globe Theatre burned to the ground on June 29, 1613, during a performance of Shakespeare’s last history play Henry VIII: Or, All is True . A volatile combination of a cheap roof and pyrotechnic effects could have doomed the Globe forever, but thanks to the literary immortality that Shakespeare achieved but could not have anticipated, the Globe has continually been reimagined and rebuilt, remaining a place of fascination today. Citation... Hide... Kennedy, Colleen. “The Globe Theatre: Shakespeare Lost & Found.” Origins , Ohio State University, June 2013, origins.osu.edu/milestones/june-2013-globe-theatre-shakespeare-lost-found?language_content_entity=en.
• The Globe theatre fire of 1613: when Shakespeare’s playhouse burned down On 29 June 1613, the original Globe theatre in London, where most of William Shakespeare’s plays debuted, was destroyed by fire during a performance of All is True (known to modern audiences as Henry VIII ). But what caused the fire and when was the new Globe theatre rebuilt? Citation... Hide... Evans, Elinor. “The Globe Theatre Fire of 1613: When Shakespeare’s Playhouse Burned Down.” History Extra , British Broadcasting Corporation, 29 June 2018, www.historyextra.com/period/elizabethan/globe-theatre-fire-london-shakespeare-william-facts/.
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Life in the Time of Shakespeare: The Globe Theatre Actors

Research tools, globe theatre actors.

Globe Theatre Acrtors

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History of the Globe Theatre

• Download the Assignment Here Did you lose your assignment? This is a copy of the Research Assignment for you to download and print.

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Your task is to research the actors.  Be sure to answer the following questions:

• Who were they?
• How much did they make?
• How is Shakespearean acting different from today’s stage acting?
• Was acting a respectable profession? Explain why. 
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Shakespeare’s Globe Theatre

This article gives an in-depth view of The Globe Theatre. If you’re after some quick, interesting facts on The Globe Theatre click here !

Drama at Shakespeare’s time – and at Shakespeare’s Globe Theatre – was characterised by a tug of war between a disapproving puritanical attitude to theatre by the city councillors on the one hand, and royal approval on the other. The city fathers resented royal patronage and regarded it as interference in their affairs. This battle went on until finally, in 1642 and 1644, all the theatres were destroyed under order of Parliament.

We have therefore had great difficulty in gaining a good picture of what Elizabethan theatres were really like. We don’t even know exactly where the Shakespeare’s Globe Theatre stood, although we can get quite close, and indeed, there is  a splendid reconstruction of it , which is now one of London’s most popular theatres and biggest tourist attractions.

One of the most valuable sources of our knowledge about the actual architecture of the theatre is a drawing done by a Dutchman, Arend van Buchell, who did the drawing from a sketch made by his friend, Johannes de Witt, who attended a play at the Swan Theatre. Buchell said of it: ‘ the largest and most remarkable of the theatres in London is the Swan, which is able to accommodate three thousand spectators. ‘ This is his drawing:

Shakespeare’s Swan Theatre

After the old Globe Theatre was built in early 1599 the first production was As You Like It , followed by works by Shakespeare, Jonson, Beaumont, Fletcher, and others . In 1613, during a performance of Henry VIII , a cannon went off to mark the entrance of the king, and a stray spark set the thatch roof aflame. In one hour, the theatre was destroyed.

Reconstruction of the Globe began immediately, and it was finished by June 1614. Performances continued until 1642, when the Puritans, who found theatre vulgar and intolerable, shut all theatres down. Two years later the Globe was levelled to make way for tenement dwellings.

Plays were big business for those who owned them: Shakespeare was only one man who became rich from his involvement as a shareholder in the most popular theatre. The plays produced by the Globe were very high in quality and the theatre was always full.

The competition among the theatres created a huge demand for new material and is the single most important factor in the flowering of drama that is now known as the ‘golden age’ of English drama. Apart from Shakespeare’s, scores of the plays of that period are regularly performed today. This great demand is reflected in Shakespeare’s vast output. If you look at a  timeline of Shakespeare’s life you will see how fast he worked. He wrote up to four plays in some years and averaged 1.5 plays a year during his working life.

A day out at the Globe Theatre was a real treat. The grounds around the theatre would have been bustling, with plenty of entertainment . Even people not attending performances would flock to the Globe for the market stalls and the holiday-like atmosphere. There were many complaints about apprentices missing work to go to the theatre.

The groundlings paid a penny to stand in the pit of the Globe Theatre. The others sat in the galleries. The very grand could watch the play from a chair set on the side of the stage itself. Theatre performances were held in the afternoon because they needed the daylight. The turnover of plays was unimaginable to the modern mind. The theatres could often present eleven performances of ten different plays in two weeks. The actors generally got their lines only as the play was in progress – very different from the well-rehearsed performances that we expect these days. There would be someone backstage whispering the lines and the actors would then repeat them. Women were not allowed to appear on the stage so the female roles were played by men and boys.

Shakespeare was not only a shareholder in the Globe and a prominent writer; he also acted in some of the plays. We don’t know exactly how many roles he played himself, although we do have some documented information.

Shakespeare had begun his career on the stage by 1592. It is probable that he played the title role in Edward I by Edward Peele in 1593. Regarding the major roles in his own plays, he was probably directing because he gave way to the other actors and played small, peripheral parts, including Adam in As You Like It ; Duncan in Macbeth ; King Henry in Henry IV Part 1 and Part 2 ; and the ghost in Hamlet . Shakespeare’s first biographer, Nicholas Rowe, refers to a role by Shakespeare as ‘the Ghost in his own Hamlet’ and says that he was at ‘the top of his performance’.

Pictures of Shakespeare’s Globe Theatre – Then & Now

The Globe Theatre stage by night

Shakespeare’s Globe Theatre from 1700

Globe Theatre interior from 1700’s

Exterior of The Globe Theatre today

The 20th Century Rebuilding of Shakespeare’s Globe Theatre

In London Shakespeare circles there is a name almost as famous as that of William Shakespeare himself. It is that of Sam Wanamaker, an American actor whose vision almost matched Shakespeare’s.

A new acting space has opened  in the Shakespeare Globe complex   named ‘ The Sam Wanamaker Playhouse .’ Near to the Globe on the south bank of the River Thames there is a plaque that reads: In Thanksgiving for Sam Wanamaker, Actor, Director, Producer, 1919–1993, whose vision rebuilt Shakespeare’s Globe Theatre on Bankside in this parish.

When Sam Wanamaker first visited London in 1949 he did what most first-time visitors did – he wandered around, overwhelmed by London’s beauty and history. One of the things he did was look for traces of Shakespeare’s Globe and he was astonished to find nothing more than a blackened plaque on a wall of an abandoned brewery. He failed to understand how Londoners, who should have been so proud of their famous writer, could be so neglectful.

While filming in the UK in 1952 he learned that he had become one of the many Hollywood victims of the McCarthy witch hunt and decided not to return to America. He had joined the Communist Party as a very young man and although he had long before abandoned that involvement it was enough for him to be blacklisted. So there was no career possible in America but he made a successful and distinguished career in the UK in film and theatre.

He became obsessed with his big idea – the resurrection of the lost Globe Theatre. In 1970 he launched the Shakespeare Globe Trust, and later obtained a piece of land near to the original site. He had considerable difficulty obtaining permission to build the theatre due to a hostile local council that blocked his efforts for years. He was also ridiculed by the theatre and film establishment but, undaunted, he carried on, using his own earnings from acting and directing to finance the project.

WHAT DID GLOBE THEATRE LOOK LIKE INSIDE? AND HOW BIG WAS IT

The theater was as big as your fat head.

not needed mate

what was the atmosphere like in the globe

Very interesting. I like Shakespeare. He was a cool dude. I have to study him for school. This helped me a lot.

Hell yeah very cool dude, thanks for the information

i like. remeo and juliet

I prefer Hamlet and Macbeth.

i love shakesphere, can you guys talk about sonic next

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Shakespeare's Romeo and Juliet: Station 3: Globe Theatre

Instructions.

• Station 1: Courtship & Love
• Station 2: Insults
• Station 3: Globe Theatre
• Station 4: Gender
• Station 5: Juliet's Secretaries
• Station 6: Letters to Juliet

Essential Question

Think about:

What was theater like during Shakespeare's time?

Station 3: The Globe Theatre

• Watch the video on the Globe Theatre.
• Look at the illustration and key of the Globe Theatre. 
• Label at least 6 parts of the illustration. 
• Where in the theater would you want to be?
• Would you prefer to be an audience member, a performer or supporting theatre crew member? 
• What would you do?
• Identify the area of the theatre, its name and draw a star to indicate your desired location on your Globe illustration.
• If time permits, read the article on the Globe Theatre’s construction and history.

About the Globe

Read this short article about the globe theatre:, http://www.shakespearesglobe.com/uploads/files/2014/01/the_globe.pdf, video on the globe.

• << Previous: Station 2: Insults
• Next: Station 4: Gender >>
• Last Updated: May 1, 2019 3:22 PM
• URL: https://lewishs-fcps.libguides.com/romeo

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THE SHAKESPEARE GLOBE THEATRE St. Elizabeth ’ s School Designed by the students Grade 8 Kuznetsov Yaroslav Lapkin Ivan Moscow, 2015.

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Measure for Measure – review

I know it's a cliche but it's true: foreign-language Shakespeare, necessarily an adaptation, often has a liberating effect on directors and actors. That is certainly the case with Yury Butusov's invigorating production of this complex comedy for Moscow's Vakhtangov Theatre , the latest production in the World Shakespeare festival, which takes liberties that might be frowned upon if they came from the Globe's resident team.

Butusov's most radical idea is to have one actor, the young Sergey Epishev, play both the Viennese Duke and his deputy, Angelo, in whose hands he leaves his vice-ridden city. Clearly we are meant to see the reclusive but negligent Duke and his puritanical sidekick as two sides of the same corrupt coin. But the point of the casting only becomes fully clear at the climax when we see that both characters harbour the same lust for the chaste and holy Isabella: the Duke overturns tables to grab her body, exactly as Angelo had done earlier, and leaves her angrily distraught and curled up in a foetal position.

Every bold notion, however, creates its own problems. I waited eagerly to see how Butusov would handle the fifth act confrontation of the Duke and Angelo only to discover that he has cut it. And, while I get the point that Isabella is a victim of two manipulative males, I am puzzled by aspects of Evgeniya Kregzhde's performance. There's a lovely moment when we see her engaging in a sexy foxtrot with Angelo, which is clearly the latter's fantasy. But there seems to be a touch of unholy flirtiness in Isabella's first appearance, clad in crisp white blouse and long skirt, in Angelo's office. I can only assume the intention is to suggest that, even at her most ardent and imploratory, she is the inescapable object of the male gaze.

What is good about this production is that it makes its points with swift economy. The chaos of Vienna is implied by a heap of plastic bottles strewn over the stage at the beginning and the end; Angelo's attempt to impose order is suggested by a line of potted plants. And the molten intimacy of Claudio, Isabella's doomed brother, and his beloved Juliet is show by the way they are forever clamped together like Siamese twins. A predominantly young company delivers this difficult play with vigour and adjusts to the unique demands of the Globe space by acknowledging the audience without pandering to them.

Full season details at www.worldshakespearefestival.org.uk

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Unifying Shakespeare: Globe Theatre's Russian tour ends on thrilling note

A Midsummer Night's Dream performance. Source: Press Photo

London's Globe Theatre arrived in Russia in the Urals city of Yekaterinburg, after a long tour of China. Part of a regional programme of the current UK/Russia Year of Culture supported by the Regional Public Foundation of the Chekhov International Theatre Festival, the tour brought Shakespeare's genius direct to audiences throughout Russia.

Performances by the troupe in St. Petersburg and Pskov were followed by five daily of shows in Moscow's Mossovet Theatre, with two performances each day on the weekend.

Sell-out performances thrilled audiences made up of theatre professionals and amateurs, students, critics, actors and those who simply love the English language in all its Shakespearian splendour.

Balletic precision

The Globe's Moscow performance of Dominic Dromgoole’s A Midsummer Night’s Dream confirmed that traditional theatre could be more than simply a stultifying museum piece, but a living link between generations and epochs.

Stage sensation: British ballet wows Moscow

Language was no barrier, despite the fact that the play was performed in English and the audience was largely made up of Russian speakers.

When on the wooden stage of the Mossovet State Academic Theatre, the impish little pageboy Puck (RADA-trained Molly Logan) screams “Wow” in English, or amateur actors, telling the story of Pyramus and Thisbe, so similar to Chekhov’s The Cherry Orchard , or greet each other in Russian, there is no interruption to the audience's appreciation of a long, full three hours, immersion in the British Golden Age of theatre.

It seems that Moscow audiences (and beforehand, the no less refined, but more restrained Petersburg audiences) primarily rejoiced in the balletic precision of the staging, while discovering the unique acoustic, figurative and verbal colouring of Elizabethan theatre, from which the dust of ages was vigorously swept away forcing all in the auditorium to experience a live onslaught of humor, confusion, fear, melancholy and love, that so elegantly and powerfully stream from the pen of the genius philosopher Shakespeare in one of his greatest comedies.

In the midst of a controversy about the role of contemporary stage plays, which has divided Moscow theatres into conservatives and seekers of new forms, A Midsummer Night’s Dream demonstrated the charm of theatre, where the artistry of actors is dominant, where there is no need for stage effects.

Tom Stoppard backs Moscow’s Teatr.doc

The actor'sfaceand gestures are flooded by bright, even light; as in the hall, so on the stage. The actor has too much respect for the power of imagination that reigns in Shakespeare’s theatre, to strain his musculature into false grimaces and poses.

Quite evidently Russian theatergoers appreciated this approach. Tatian Belok, a Moscow spectator was so entranced by The Globe's performances, that she watched the play three times, regretting that a fourth visit was not possible. "It is like Petin’s choreography – the longer you watch or listen, the more you enjoy it," she told RBTH.

Cultural bridge

Audiences for the Russian tour were untroubled by the political circumstances in which the UK/Russian Year of Culture has taken place. In July the British side officially withdrew participation and support for the year of cultural activities.

The move, part of a wide set of sanctions imposed by European and western countries connected with the crisis in Ukraine, has lowered the status of the entire cultural programme, leading to the postponement and, at times, cancellation of planned activities.     

Ralph Fiennes would like to screen Chekhov's The Cherry Orchard and The Seagull

However, the executive producer of the show, Tom Bard confirmed to RBTH that it never even crossed his mind to cancel the tour in Russia: "Culture helps to rebuild those bridges between peoples that are destroyed by politics and war. The current tour is a logical continuation of our relations with Russian theatres, developed over the last few years,” he said.

Actress Janie Dee, who plays Titania, in comments connected with the difficult political situation, remarked: "I am surrounded by very smart people who understand what is happening, and that everything is not so simple. To point a finger and identify a guilty party is impossible."

The Globe tour brings to an end the major English Program of the Chekhov Festival, which was launched in the spring of this year.

Read more: Provocative Russian octogenarian artist in first London show for 20 Years>>>

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