Staging Shakespeare at the new Globe /
What have we learned from the first experiments at the reconstructed Globe on Bankside? Written by the Shakespearean appointed to study the actor's use of the space, the book is the first analytical account of the discoveries that have been made about its important first years of use. Pauline K...
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| Main Author: | |
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| Format: | Book |
| Language: | English |
| Published: |
New York :
St. Martin's Press,
1999.
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| Series: | Early modern literature in history
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| Subjects: |
MARC
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| 100 | 1 | |a Kiernan, Pauline. | |
| 245 | 1 | 0 | |a Staging Shakespeare at the new Globe / |c Pauline Kiernan. |
| 260 | |a New York : |b St. Martin's Press, |c 1999. | ||
| 300 | |a xiv, 175 pages : |b illustrations ; |c 23 cm | ||
| 336 | |a text |b txt |2 rdacontent | ||
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| 490 | 1 | |a Early modern literature in history | |
| 504 | |a Includes bibliographical references (166-172) and index. | ||
| 505 | 0 | |a pt. I. The Shock of the Old -- 1. Introduction -- 2. The Space of the Audience -- 3. Dramatic Illusion in the Open Playhouse -- 4. Dramaturgy, 3-D Staging and Daylight Space -- pt. II. Staging History: Henry V in Preparation and Performance -- 5. Preparing the Play for the Globe Space -- 6. Taking the Play on to the Stage -- 7. The Play in Performance -- 8. Revelations and Discoveries -- pt. III. New Voices from the Playhouse: Toby Cockerell, Mark Rylance, William Russell, David Fielder, David Lear, Nick Fletcher, Rory Edwards, John McEnery, Richard Olivier, Craig Pinder, Jeanette Nelson, Sue Lefton, Matthew Scurfield, Steven Skybell, Bill Stewart, Ben Walden, Vincent Brimble, Christian Camargo, Malcolm McKay, Jack Shepherd, Gaynor MacFarlane, Rebecca Lenkiewicz, Maureen Beattie -- App. The New Globe Acting Companies, 1996 and 1997. | |
| 520 | |a What have we learned from the first experiments at the reconstructed Globe on Bankside? Written by the Shakespearean appointed to study the actor's use of the space, the book is the first analytical account of the discoveries that have been made about its important first years of use. Pauline Kiernan relates her findings to what we know of original staging practices in Shakespeare's time to show how actors, directors, and playgoers have responded to the demands of "historical" constraints - and unexpected freedoms - to offer valuable insights into the dynamics of Elizabethan theatre | ||
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