Providing a lively and engaging debate, this volume assesses the impact of the extraordinary Shakespeare's Globe on Bankside, London. Featuring contributions from actors, musicians, Globe Education staff, Directors and internationally renowned scholars, the book provides a full and rounded account of this important period of theatre history.
Providing a lively and engaging debate, this volume assesses the impact of the extraordinary Shakespeare's Globe on Bankside, London. Featuring contributions from actors, musicians, Globe Education staff, Directors and internationally renowned scholars, the book provides a full and rounded account of this important period of theatre history.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Carson, Christie Christie Carson is Senior Lecturer in the Department of English at Royal Holloway, University of London. Her main area of research interest is the application of digital technology to teaching and research in the field of dramatic performance history. She has created a number of groundbreaking projects in this area working with Cambridge University Press, the Performing Arts Data Service, the English Subject Centre, the British Library and the Royal Shakespeare Company. Her interests focus on the way in which contemporary performance history can be both documented and studied in new ways using digital technology. Dr Carson is also very interested in incorporating the work of creative practitioners both in the documentation and the teaching processes.
Karim-Cooper, Farah Farah Karim-Cooper is Lecturer in Globe Education and oversees all research activities at Shakespeare's Globe.
Inhaltsangabe
Preface Andrew Gurr; Introduction Christie Carson and Farah Karim-Cooper; 1. The 'essence of Globeness': authenticity, and the search for Shakespeare's stagecraft Franklin J. Hildy; Part I. The 'Original Practices' Project Christie Carson; Stage Action: 2. 'Practising behaviour to his own shadow' Tim Carroll; 3. 'Original practices' at the Globe: A theatre historian's view Alan Dessen; Stage Appearance: 4. Exploring early modern stage and costume design Jenny Tiramani; 5. Cosmetics on the Globe stage Farah Karim-Cooper; Music and Sound: 6. Music and aural texture at Shakespeare's Globe Claire van Kampen; 7. Music, authenticity and audience David Lindley; Actor/Audience Relationship: 8. Research, materials, craft: principles of performance at Shakespeare's Globe Mark Rylance; 9. Democratising the audience? Christie Carson; Part II. Globe Education and Research Farah Karim-Cooper: 10. Contextualising Globe education Patrick Spottiswoode; 11. 'That scull had a tongue in it, and could sing once': Staging Shakespeare's contemporaries James Wallace; 12. Learning through Shakespeare Fiona Banks; 13. Research and the Globe Martin White; Part III. Research in Practice: Practice in Research Christie Carson and Farah Karim-Cooper; 14. Performing early music at Shakespeare's Globe Claire van Kampen, William Lyons and Keith McGowan; 15. Discoveries from the Globe stage Mark Rylance, Yolanda Vazquez and Paul Chahidi; 16. Directing at the Globe and the Blackfriars: six big rules for contemporary directors Ralph Alan Cohen; Conclusion Christie Carson and Farah Karim-Cooper; Afterword Gordon McMullan; Appendices: A list of the International Globe Theatre projects after 1970; A draft artistic policy for Shakespeare's Globe - 1988; Alan Dessen's Ten Commandments for work on the Globe stage - 1990; Production list 1997-2005; Read not Dead staged readings; List of Globe Quartos.Preface Andrew Gurr; Introduction Christie Carson and Farah Karim-Cooper; 1. The âessence of Globenessâ: authenticity, and the search for Shakespeareâs stagecraft Franklin J. Hildy; Part I. The âoriginal practicesâ project Christie Carson; Stage action: 2. âPractising behaviour to his own shadowâ Tim Carroll; 3.'Original practices'at the Globe: A theatre historian's view Alan Dessen; Stage appearance: 4. Exploring early modern stage and costume design Jenny Tiramani; 5. Cosmetics on the Globe stage Farah Karim-Cooper; Music and sound: 6. Music and aural texture at Shakespeareâs Globe Claire van Kampen; 7. Music, authenticity and audience David Lindley; Actor/audience relationship: 8. Research, materials, craft: principles of performance at Shakespeareâs Globe Mark Rylance; 9. Democratising the audience? Christie Carson; Part II. Globe education and research Farah Karim-Cooper; 10. Contextualising Globe education Patrick Spottiswoode; 11. âThat scull had a tongue in it, and could sing onceâ: Staging Shakespeareâs contemporaries James Wallace; 12. Learning through Shakespeare Fiona Banks; 13. Research and the Globe Martin White; Part III. Research in Practice: Practice in Research Christie Carson and Farah Karim-Cooper; 14. Performing early music at Shakespeareâs Globe Claire van Kampen, William Lyons and Keith McGowan; 15. Discoveries from the Globe stage Mark Rylance, Yolanda Vazquez and Paul Chahidi; 16. Directing at the Globe and the Blackfriars: six big rules for contemporary directors Ralph Alan Cohen; Conclusion Christie Carson and Farah Karim-Cooper; Afterword Gordon McMullan; Appendices: A list of the International Globe Theatre projects after 1970; A draft artistic policy for Shakespeareâs Globe â 1988; Alan Dessenâs Ten Commandments for work on the Globe stag
Preface Andrew Gurr; Introduction Christie Carson and Farah Karim-Cooper; 1. The 'essence of Globeness': authenticity, and the search for Shakespeare's stagecraft Franklin J. Hildy; Part I. The 'Original Practices' Project Christie Carson; Stage Action: 2. 'Practising behaviour to his own shadow' Tim Carroll; 3. 'Original practices' at the Globe: A theatre historian's view Alan Dessen; Stage Appearance: 4. Exploring early modern stage and costume design Jenny Tiramani; 5. Cosmetics on the Globe stage Farah Karim-Cooper; Music and Sound: 6. Music and aural texture at Shakespeare's Globe Claire van Kampen; 7. Music, authenticity and audience David Lindley; Actor/Audience Relationship: 8. Research, materials, craft: principles of performance at Shakespeare's Globe Mark Rylance; 9. Democratising the audience? Christie Carson; Part II. Globe Education and Research Farah Karim-Cooper: 10. Contextualising Globe education Patrick Spottiswoode; 11. 'That scull had a tongue in it, and could sing once': Staging Shakespeare's contemporaries James Wallace; 12. Learning through Shakespeare Fiona Banks; 13. Research and the Globe Martin White; Part III. Research in Practice: Practice in Research Christie Carson and Farah Karim-Cooper; 14. Performing early music at Shakespeare's Globe Claire van Kampen, William Lyons and Keith McGowan; 15. Discoveries from the Globe stage Mark Rylance, Yolanda Vazquez and Paul Chahidi; 16. Directing at the Globe and the Blackfriars: six big rules for contemporary directors Ralph Alan Cohen; Conclusion Christie Carson and Farah Karim-Cooper; Afterword Gordon McMullan; Appendices: A list of the International Globe Theatre projects after 1970; A draft artistic policy for Shakespeare's Globe - 1988; Alan Dessen's Ten Commandments for work on the Globe stage - 1990; Production list 1997-2005; Read not Dead staged readings; List of Globe Quartos.Preface Andrew Gurr; Introduction Christie Carson and Farah Karim-Cooper; 1. The âessence of Globenessâ: authenticity, and the search for Shakespeareâs stagecraft Franklin J. Hildy; Part I. The âoriginal practicesâ project Christie Carson; Stage action: 2. âPractising behaviour to his own shadowâ Tim Carroll; 3.'Original practices'at the Globe: A theatre historian's view Alan Dessen; Stage appearance: 4. Exploring early modern stage and costume design Jenny Tiramani; 5. Cosmetics on the Globe stage Farah Karim-Cooper; Music and sound: 6. Music and aural texture at Shakespeareâs Globe Claire van Kampen; 7. Music, authenticity and audience David Lindley; Actor/audience relationship: 8. Research, materials, craft: principles of performance at Shakespeareâs Globe Mark Rylance; 9. Democratising the audience? Christie Carson; Part II. Globe education and research Farah Karim-Cooper; 10. Contextualising Globe education Patrick Spottiswoode; 11. âThat scull had a tongue in it, and could sing onceâ: Staging Shakespeareâs contemporaries James Wallace; 12. Learning through Shakespeare Fiona Banks; 13. Research and the Globe Martin White; Part III. Research in Practice: Practice in Research Christie Carson and Farah Karim-Cooper; 14. Performing early music at Shakespeareâs Globe Claire van Kampen, William Lyons and Keith McGowan; 15. Discoveries from the Globe stage Mark Rylance, Yolanda Vazquez and Paul Chahidi; 16. Directing at the Globe and the Blackfriars: six big rules for contemporary directors Ralph Alan Cohen; Conclusion Christie Carson and Farah Karim-Cooper; Afterword Gordon McMullan; Appendices: A list of the International Globe Theatre projects after 1970; A draft artistic policy for Shakespeareâs Globe â 1988; Alan Dessenâs Ten Commandments for work on the Globe stag
Rezensionen
'Shakespeare's Globe provides a glorious insight into the Globe itself and all those people who have made it so successful ... For anyone who wants really to understand the workings of a theatre, this book will enthrall. ... [It] gives the opportunity for those passionate about the Globe project to excite and enthuse us about what they have achieved so far and how much there is yet to come ... It is the very inventiveness of this fascinating project, and the first decade of its existence as a part of London's theatrical and educational scene, which is gloriously celebrated in this lovely book. ... Shakespeare's Globe: A Theatrical Experiment will appeal to all who have enjoyed performances at the Globe and who wish to understand more fully the way the theatre approaches its plays. ... After reading this wonderful book, the true extent of the dedication and commitment of those who first saw, and continue to see, the potential of this Bankside resource comes shining through. A fitting tribute and one which should grace any theatre-lover's bookshelves.' Rogues and Vagabonds
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