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211 - Audiences at the Old Globe and the New

from Part XXI - Audiences

Published online by Cambridge University Press:  17 August 2019

By
Penelope Woods
Edited by
Bruce R. Smith
Edited in association with
Katherine Rowe
With
Ton Hoenselaars ,
Akiko Kusunoki ,
Andrew Murphy  and
Aimara da Cunha Resende
Bruce R. Smith
Affiliation:
University of Southern California
Katherine Rowe
Affiliation:
Smith College, Massachusetts
Ton Hoenselaars
Affiliation:
Universiteit Utrecht, The Netherlands
Akiko Kusunoki
Affiliation:
Tokyo Woman’s Christian University, Japan
Andrew Murphy
Affiliation:
Trinity College Dublin
Aimara da Cunha Resende
Affiliation:
Universidade Federal de Minas Gerais, Brazil
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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 - 1544
Publisher: Cambridge University Press
Print publication year: 2016

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References

Sources cited

Brown, Bill. “Thing Theory.” Critical Inquiry 28.1 (2001): 1–22.Google Scholar
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
Chambers, E. K. The Elizabethan Stage. 2nd ed. 4 vols. Oxford: Oxford UP, 2009.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

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