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“The Ghosts Are Watching”: The Globe's Battlefield Performances of Henry VI
Published online by Cambridge University Press: 16 January 2018
Extract
In the summer of 2013, Shakespeare's Globe, the company based at the Globe reconstruction in London, mounted productions of the three parts of Shakespeare's Henry VI at Wars of the Roses battlefield sites. The battlefield as performance space, with its rolling hills and buried corpses, mediated the temporal overlap of past and present, as contemporary bodies engaged with the construction of a historical narrative in the fictional play and the actual historical moments of the Wars of the Roses. The associations entrenched in the soil of these sites, the physical remains and histories of the past, encode a connective experience for the contemporary participants interacting with it. The battlefield site, then, is not just a site of historical significance—it is also a site of historical reenactment, where present bodies meet absent ones in the Globe's attempt to converge separated temporalities. The Globe framed the battlefield performances as a way of enlivening history by grounding well-worn Shakespearean texts in the places they represent. But the Globe, in collaboration with The Space, an online arts collective, also filmed the ten-hour marathon event at the Barnet battlefield, live-streamed, and then saved the performance to a digital archive. So the Globe displaced the site of their site-specific experience. Virtual spectatorship, a result of the Globe's efforts to increase access to their battlefield performances by making them available online, adds another layer of absence to the battlefield. The virtual spectator as absent spectator challenges the privileging of a physical viewing experience that the Globe's “open-air” project promotes. The displacement of site disrupts the relationships grounded in the material performance space and its geographical connections, and expands the understanding of site-specific by demonstrating how a specific relationship to place might be produced and maintained without physical access to a geographical location. Together with their placement at the historical sites and transmission into virtual spaces, the battlefield Henry VIs generate a multiplicity of shared viewing experiences. These shared experiences mediate the continuation of a (re)constructed historical and collective memory and highlight the role of spectatorship, both physical and virtual, in the formation of communal and national identity.
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References
Endnotes
1. “One-Off Battlefield Performances,” www.shakespearesglobe.com/theatre/whats-on/globe-theatre-on-tour/henry-vi/battlefield-performances, accessed 11 November 2013. The Space is online at www.thespace.org.
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7. These specific details about the historical battlefield site come from my electronic correspondence with Helen Cox, a Towton Battlefield Society member, in July 2015.
8. Henry VI: Harry the Sixth, https://globeplayer.tv/videos/henry-vi-harry-the-sixth.
9. David Belcher, “When a Battlefield Becomes a Stage,” New York Times, 1 August 2013.
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