Around the yard were three levels of stadium-style seats, which were more expensive than standing room A rectangular stage platform, also known as an 'apron stage', thrust out into the middle of the open-air yard. The stage measured approximately 43 feet On this stage, there was a trap door for use by performers to enter from the "cellarage" area beneath the stage.
There may have been other trap doors around the stage. Large columns on either side of the stage supported a roof over the rear portion of the stage. The ceiling under this roof was called the "heavens," and may have been painted with clouds and the sky. The back wall of the stage had two or three doors on the main level, with a curtained inner stage in the center and a balcony above it.
The doors entered into the "tiring house" backstage area where the actors dressed and awaited their entrances. The balcony housed the musicians and could also be used for scenes requiring an upper space, such as the balcony scene in Romeo and Juliet. The modern Globe At the instigation of American actor and director Sam Wanamaker, a new Globe theatre was built according to an Elizabethan plan.
It opened in under the name "Shakespeare's Globe Theatre" and now stages plays every summer May to October. Mark Rylance was appointed as the first artistic director of the modern Globe in In , Dominic Dromgoole took over. The new theatre on Bankside is approximately yards m from the original site, centre to centre, and was the first thatched roof building permitted in London since the Great Fire of London in As in the original Globe, the theatre is open to the sky and has a thrust stage that projects into a large circular yard surrounded by three tiers of steeply raked seating.
The only covered parts of the amphitheatre are the stage and the more expensive seated areas. Plays are put on during the summer, usually between May and the first week of October.
What is it about the combination of shape, stage position, and audience proximity that creates theatrical magic? The shape of the space and the close proximity of the audience to the stage and, more importantly, to its actors creates a brief and intense relationship that can be found in all of the reconstructions around the world. These re-imaginings show us that physical space takes precedence over geographical place since the reconstructions do not need to be situated in London to be successful.
They show us that audiences want that moment of recognition that comes from stepping inside a modern construction and finding yourself cheek by jowl with the past. The variety of products used in their construction containers, scaffolding, oak etc. It is this link to the Shakespeare of the past that drives these replicas and their audiences. Filed Under: Shakespeare's Globe. Click here to cancel reply.
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