Book contents
- The Cambridge Guide to the Worlds of Shakespeare
- Frontispiece
- Frontispiece
- The Cambridge Guide to the Worlds of Shakespeare
- Worlds of Shakespeare
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Abbreviations
- Part I Mapping Shakespeare’s World
- Part II Theater
- Part III Language
- Part IV Science and Technology
- Part V Printing, Publishing, Textuality
- Part VI Visual Arts
- Part VII Popular Culture
- Part VIII High Culture
- Part IX England, 1560–1650
- Part X Religion
- Part XI Medicine
- Part XII The Historical William Shakespeare
- Part XIII Shakespeare’s Fellows
- Part XIV Shakespeare’s Early Reception (to 1660)
- Part XV International Encounters
- Part XVI Making the Scene
- Part XVII Shakespeare as Cultural Icon
- Part XVIII Shakespeare and Popular Culture
- Part XIX Translation
- Part XX Changing Technologies of Stage Performance
- Part XXI Audiences
- Introduction
- 204 English-Speaking Audiences: Sixteenth and Seventeenth Centuries
- 205 English-Speaking Audiences: Restoration and Eighteenth Century
- 206 English-Speaking Audiences: Nineteenth Century
- 207 English-Speaking Audiences: Twentieth Century
- 208 Shakespeare for Soldiers and Seniors
- 209 Shakespearean Players in Early Modern Europe
- 210 Diversely Abled Audiences
- 211 Audiences at the Old Globe and the New
- Part XXII Production History
- Part XXIII Printing and Reception History
- Part XXIV Shakespeare and the Book
- Part XXV Shakespeare and the Critics
- Part XXVI Shakespeare and the Performing Arts
- Part XXVII Shakespeare and the Visual Arts
- Part XXVIII Shakespeare and Media History
- Index
- References
211 - Audiences at the Old Globe and the New
from Part XXI - Audiences
Published online by Cambridge University Press: 17 August 2019
Edited by
Edited in association with
Book contents
- The Cambridge Guide to the Worlds of Shakespeare
- Frontispiece
- Frontispiece
- The Cambridge Guide to the Worlds of Shakespeare
- Worlds of Shakespeare
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Abbreviations
- Part I Mapping Shakespeare’s World
- Part II Theater
- Part III Language
- Part IV Science and Technology
- Part V Printing, Publishing, Textuality
- Part VI Visual Arts
- Part VII Popular Culture
- Part VIII High Culture
- Part IX England, 1560–1650
- Part X Religion
- Part XI Medicine
- Part XII The Historical William Shakespeare
- Part XIII Shakespeare’s Fellows
- Part XIV Shakespeare’s Early Reception (to 1660)
- Part XV International Encounters
- Part XVI Making the Scene
- Part XVII Shakespeare as Cultural Icon
- Part XVIII Shakespeare and Popular Culture
- Part XIX Translation
- Part XX Changing Technologies of Stage Performance
- Part XXI Audiences
- Introduction
- 204 English-Speaking Audiences: Sixteenth and Seventeenth Centuries
- 205 English-Speaking Audiences: Restoration and Eighteenth Century
- 206 English-Speaking Audiences: Nineteenth Century
- 207 English-Speaking Audiences: Twentieth Century
- 208 Shakespeare for Soldiers and Seniors
- 209 Shakespearean Players in Early Modern Europe
- 210 Diversely Abled Audiences
- 211 Audiences at the Old Globe and the New
- Part XXII Production History
- Part XXIII Printing and Reception History
- Part XXIV Shakespeare and the Book
- Part XXV Shakespeare and the Critics
- Part XXVI Shakespeare and the Performing Arts
- Part XXVII Shakespeare and the Visual Arts
- Part XXVIII Shakespeare and Media History
- Index
- References
Summary
A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Keywords
aleatoric effectanimalsantagonismattentionaudienceaudience experienceauthenticcloudscondescensionconventionsconvivialitydirect addressdissensionequally litexpert spectatorfainting1599 Globe (playhouse)historicityinteractionlaughtermaterial conditionsnegotiationopen airpigeonsreconstructionresponsetesponsivenessself-consciousnessShakespeare’s Globe (playhouse)social spaceswooningtheater conditionstouristweatherworld
- Type
- Chapter
- Information
- The Cambridge Guide to the Worlds of Shakespeare , pp. 1538 - 1544Publisher: Cambridge University PressPrint publication year: 2016
References
Sources cited
Carroll, Tim. “Practising Behaviour to His Own Shadow.” Shakespeare’s Globe: A Theatrical Experiment. Ed. Carson, Christie and Karim-Cooper, Farah. Cambridge: Cambridge University Press, 2008. 37–44.Google Scholar
Escolme, Bridget. Talking to the Audience: Shakespeare, Performance, Self. London: Routledge, 2005.Google Scholar
Etchells, Tim. “Tim Etchells on Performance: National Review of Live Art Meets a Bloody End. Thirty Years of Past Performers Came Together for the Final NRLA Glasgow, While a Savagely Gory Ron Athey Sealed the Festival’s Legendary Status.” The Guardian 25 March 2010. http://www.theguardian.com/stage/2010/mar/24/national-review-of-live-art-ron-athey. Accessed 30 November 2014.Google Scholar
Gravelle, Trystan. End of Season Interview. London: Shakespeare’s Globe Library and Archives, 2009.Google Scholar
Greenfield, Jon. “Design as Reconstruction, Reconstruction as Design.” Shakespeare’s Globe Rebuilt. Ed. Mulryne, J. R., Shewring, Margaret, and Gurr, Andrew. Cambridge: Cambridge University Press, 1997. 81–97.Google Scholar
Kennedy, Dennis. The Spectator and the Spectacle: Audiences in Modernity and Postmodernity. Cambridge: Cambridge University Press, 2009.Google Scholar
Measure for Measure. By Shakespeare, William. BBC production, presented by Andrew Marr. Shakespeare’s Globe, London. 4 September 2004.Google Scholar
Nashe, Thomas. Pierce Pennilesse. Works. Ed. McErrow, R. B.. 5 vols. Oxford: Blackwell, 1966.Google Scholar
Prescott, Paul. “Inheriting the Globe: The Reception of Shakespearean Space and Audience in Contemporary Reviewing.” A Companion to Shakespeare in Performance. Ed. Hodgdon, Barbara. Oxford: Blackwell, 2006. 359–74.Google Scholar
Weever, John. The Mirror of Martyrs, or the life and death of that thrice valiant Capitaine, and most godly Martyre Sir John Oldcastle knight Lord Cobham. London: 1601.Google Scholar
Witmore, Michael. Culture of Accidents: Unexpected Knowledge in Early Modern England. Stanford: Stanford UP, 2001.Google Scholar
Woods, Penelope. Globe Audience: Spectatorship and Reconstruction at Shakespeare’s Globe. Unpublished PhD Thesis, Department of Drama, Queen Mary, University of London and Shakespeare’s Globe. Audio archive held by Shakespeare’s Globe Library and Archives.Google Scholar
Worthen, W. B. Shakespeare and the Force of Modern Performance. Cambridge: Cambridge University Press, 2003.Google Scholar
Further reading
Bailes, Sara Jane. Performance Theatre and the Poetics of Failure. London: Taylor and Francis, 2010.Google Scholar
Bennett, Susan. Performing Nostalgia: Shifting Shakespeare and the Contemporary Past. London: Routledge, 1996.Google Scholar
Carson, Christie, and Karim-Cooper, Farah, eds. Shakespeare’s Globe: A Theatrical Experiment. Cambridge: Cambridge University Press, 2008.Google Scholar
Gurr, Andrew. Playgoing in Shakespeare’s London. 2nd ed. Cambridge: Cambridge University Press, 1996.Google Scholar
Jauss, Hans Robert. Towards an Aesthetics of Reception. Trans. Bahti, Timothy. Brighton: Harvester, 1982. (On the “horizon of expectations,” see 20.)Google Scholar
Kirshenblatt-Gimblett, Barbara. “Theorizing Heritage.” Ethnomusicology 39.3 (1995): 367–80.CrossRefGoogle Scholar
Knowles, Ric. Reading the Material Theatre. Cambridge: Cambridge University Press, 2004. (On cultural materialism, see 12–15.)Google Scholar
Lopez, Jeremy. “A Partial Theory of Original Practice.” Shakespeare Survey 61 (2008): 302–17.Google Scholar
Meyer-Eppler, Werner. “Statistic and Psychologic Problems of Sound.” Trans. Goehr, Alexander. Die Riehe 1 (1957): 55–61.Google Scholar
Pine, Joseph B. II, and Gilmore, James. The Experience Economy: Work Is Theatre and Every Theatre Is a Stage. Boston: Harvard Business Review Press, 2011.Google Scholar
Ridout, Nicholas. Stage Fright, Animals and Other Theatrical Problems. Cambridge: Cambridge University Press, 2006.CrossRefGoogle Scholar
Mark, Rylance, Vazquez, Yolanda, and Chahidi, Paul. “Discoveries from the Globe Stage.” Shakespeare’s Globe: A Theatrical Experiment. Ed. Carson, Christie and Karim-Cooper, Farah. Cambridge: Cambridge University Press, 2008. 194–210.Google Scholar
The Shakespeare’s Globe Library and Archives (SGLA) holds End of Season Interviews, Front of House Reports, and Penelope Woods’s PhD Thesis Audio Archive. Access to the consultancy report on Globe audiences may be sought through the Library and Archives under Audiences London, Shakespeare’s Globe Audiences, London, 2006.Google Scholar