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This book examines the conditions of the original performances in seventeenth-century indoor theatres.
What have we discovered about performance practice in the Sam Wanamaker Playhouse since the opening of the intimate candlelit theatre at Shakespeare's Globe? Playing Indoors reveals the results of a two-year study into the performance of Elizabethan and Jacobean drama in this unique theatre, drawing together insights into early modern stage practice and the observations of today's actors and spectators. A history of the experiences of artists and audience members who experienced the space first, the book is also a study of the significance of re-imagined theatres like the Sam Wanamaker Playhouse and the Globe. Accessibly written and intended for a wide audience of students, scholars, artists and theatre-goers, Playing Indoors is a valuable contribution to the young field of early modern practice-as-research.
In what ways did playwrights like Shakespeare respond to the two urban locations of the Globe and the Blackfriars? What was the effect of their different acoustic and visual experiences on actors and audiences? What did the labels 'public' for the Globe and 'private' for the Blackfriars, actually mean in practice? Sarah Dustagheer offers the first in-depth, comparative analysis of the performance conditions of the two sites. This engaging study examines how the social, urban, sensory and historical characteristics of these playhouses affected dramatists, audiences and actors. Each chapter provides new interpretations of seminal King's Men's works written as the company began to perform in both settings, including The Alchemist, The Tempest and Henry VIII. Presenting a rich and compelling account of the two early modern theatres, the book also suggests fresh insights into recent contemporary productions at Shakespeare's Globe, London and the new Sam Wanamaker Playhouse.
The 71st in the annual series of volumes devoted to Shakespeare study and production. The articles, like those of volume 70, are drawn from the World Shakespeare Congress, held 400 years after Shakespeare's death, in July/August 2016 in Stratford-upon-Avon and London. The theme is 'Re-Creating Shakespeare'.
This ground-breaking new book uncovers the way Shakespeare draws upon the available literature and visual representations of the hand to inform his drama. Providing an analysis of gesture, touch, skill and dismemberment in a range of Shakespeare's works, it shows how the hand was perceived in Shakespeare's time as an indicator of human agency, emotion, social and personal identity. It demonstrates how the hand and its activities are described and embedded in Shakespeare's texts and about its role on the Shakespearean stage: as part of the actor's body, in the language as metaphor, and as a morbid stage-prop. Understanding the cultural signifiers that lie behind the early modern understanding of the hand and gesture, opens up new and sometimes disturbing ways of reading and seeing Shakespeare's plays.
This volume traces the uses of music in Shakespearean performance from the first Globe and Blackfriars to contemporary, global productions.
During the early days of the professional English theatre, dramatists including Dekker, Greene, Heywood, Jonson, Marlowe, Middleton, and Shakespeare wrote for playhouses that, though enclosed by surrounding walls, remained open to the ambient air and the sky above. The drama written for performance at these open-air venues drew attention to and reflected on its own relationship to the space of the air. At a time when theories of the imagination emphasized dramatic performance's reliance upon and implication in the air from and through which its staged fictions were presented and received, plays written for performance at open-air venues frequently draw attention to the nature and significance of that elemental relationship. Aerial Environments on the Early Modern Stage considers the various ways in which the air is brought into presence within early modern drama, analyzing more than a hundred works that were performed at the London open-air playhouses between 1576 and 1609, with reference to theatrical atmospheres and aerial encounters. It explores how various theatrical effects and staging strategies foregrounded early modern drama's relationship to, and impact on, the actual playhouse air. In considering open-air drama's pervasive and ongoing attention to aerial imagery, actions, and representational strategies, the book suggest that playwrights and their companies developed a dramaturgical awareness that extended from the earth to encompass and make explicit the space of air.
'Staging and Stage Décor: Perspectives on European Theater 1500-1950' is a compendium of essays by an international array of theater specialists. The Introduction provides an overview of theater décor and architecture from ancient Greece through the Renaissance and beyond, while the articles that follow explore a variety of topics such as the development of lighting techniques in early modern Italy, the staging of convent theater in Portugal, performance spaces at Versailles, the reconstruction of the Globe theater, and Shrovetide plays in Germany. This volume also offers insight into little-studied subjects such as the early productions of Brecht and the spread of Russian theater to Japan. The focus on performance and performance space across centuries and continents makes this a truly unique volume.
Examining how technological developments in performance practices affect spectator experience of Shakespeare and early modern drama.
This book offers an accessible introduction to England’s sixteenth- and early seventeenth-century playing industry and a fresh account of the architecture, multiple uses, communities, crowds, and proprietors of playhouses. It builds on recent scholarship and new documentary and archaeological discoveries to answer the questions: what did playhouses do, what did they look like, and how did they function? The book will accordingly introduce readers to a rich and exciting spectrum of "play" and playhouses, not only in London but also around England. The detailed but wide-ranging case studies examined here go beyond staged drama to explore early modern sport, gambling, music, drinking, and animal baiting; they recover the crucial influence of female playhouse owners and managers; and they recognise rich provincial performance cultures as well as the burgeoning of London’s theatre industry. This book will have wide appeal with readers across Shakespeare, early modern performance studies, theatre history, and social history.