Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-g7gxr Total loading time: 0 Render date: 2024-11-04T17:40:02.693Z Has data issue: false hasContentIssue false

Chapter 11 - The Pop-up Globe

Designing and Learning to Play an ‘Empathy Drum’

from Part III - Public Reimaginings

Published online by Cambridge University Press:  02 February 2023

Liam E. Semler
Affiliation:
University of Sydney
Claire Hansen
Affiliation:
Australian National University, Canberra
Jacqueline Manuel
Affiliation:
University of Sydney
Get access

Summary

The Pop-up Globe took as its starting point ground-breaking research into the second Globe playhouse, and its size and configuration reflect the geometry theorised in that research. Its design maps onto the archaeology of the first and second Globes much more accurately than does Shakespeare’s Globe in London, and its reproduction of the geometry of the original Globes results in an actor–audience relationship that is markedly more intense and intimate. It has delivered seven critically acclaimed and successful seasons (Auckland 2016, 2017, 2017/18, 2018/19; Melbourne 2017/18; Sydney 2018; Perth 2019) that have created a whole new audience for Shakespeare in repertory, often with transformative educational effects.

But it is a scaffolding building, not timber framed as is the London Globe; the features of its stage and scenae frons and the staging practices employed in its productions have developed from one iteration to the next, referencing historical practices and staging theories but overtly prioritising modern production imperatives. So, what is it that constitutes its historical authenticity?

The authors of this chapter are the principal academic and theatre maker involved in this collaboration, and they reflect on the relationships between a pure historical research project into the architecture of the second Globe playhouse and its application in the Pop-up Globe, on the effects of that architecture on its audience, and on the issues and creative tensions that flow from two radically different but inter-dependent projects.

Type
Chapter
Information
Reimagining Shakespeare Education
Teaching and Learning through Collaboration
, pp. 174 - 187
Publisher: Cambridge University Press
Print publication year: 2023

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Bowsher, Julian and Miller, Pat, 2009. The Rose and the Globe: Playhouses of Tudor Bankside, Southwark: Excavations 1988–91 (London: Museum of London).Google Scholar
Fitzpatrick, Tim, 1996. ‘The Fortune Contract and Hollar’s Original Drawing of Southwark: Indications of a Smaller First Globe’, Shakespeare Bulletin 14.4, 510.Google Scholar
Fitzpatrick, Tim, 2004 . ‘Reconstructing Shakespeare’s Second Globe Using CAD Design Tools’, Early Modern Literature Studies Special Issue 13, 4.1–35. http://extra.shu.ac.uk/emls/si-13/fitzpatrick/index.htm.Google Scholar
Fitzpatrick, Tim, 2011a. Playwright, Space and Place in Early Modern Performance: Shakespeare and Company (Farnham, UK and Burlington, VT: Ashgate).Google Scholar
Fitzpatrick, Tim, 2011b. ‘From Archaeological Remains to Onion Dome: At the Upper Limits of Speculation’, Shakespeare 7.4, 432–51.Google Scholar
Fitzpatrick, Tim, 2015. ‘“The Two Doors’ Traffic of our Stage”: Developing and Testing “Spatial” Readings’, Cahiers Élisabéthains 88.1, 169–80.CrossRefGoogle Scholar
Fitzpatrick, Tim, 2018. ‘Exploiting Expensive Hardware: Software Models for Globe Research’, in Rawnsley, Ciara and White, Robert (eds.), The New Fortune Theatre: That Vast Open Space (Crawley, WA: University of Western Australia Publishing), 209–25.Google Scholar
Fitzpatrick, Tim and Emerson, Russell, 1999. ‘Reconstructing the Spatial Dynamics of “Lost” Theatre Spaces; Shakespeare’s Second, First and Third Globe Theatres’, People and Physical Environment Research, 4257.Google Scholar
Gregory, Miles, 2015. ‘Why I want to Build a Pop-up Globe Theatre’, WhatsOnStage, 9 May. www.whatsonstage.com/london-theatre/news/guest-blog-miles-gregory-pop-up-globe-theatre_37771.html.Google Scholar
Rawnsley, Ciara and White, Robert (eds.), 2018. The New Fortune Theatre: That Vast Open Space (Crawley, WA: University of Western Australia Publishing).Google Scholar
Thomson, Leslie, 2018. Discoveries on the Early Modern Stage: Contexts and Conventions (Cambridge: Cambridge University Press).CrossRefGoogle Scholar
Wenley, James, 2017. ‘Scene by James: The Battle for Shakespeare, or, is the Pop-up Globe as you like it?’ Theatre Scenes, 30 April. www.theatrescenes.co.nz/scene-by-james-the-battle-for-shakespeare-or-is-the-pop-up-globe-as-you-like-it/.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×