National Building Museum Reinventing the Globe: A Shakespearean Theater for the 21st Century Exhibition script
Reinventing the Globe: A Shakespearean Theater for the 21st Century
In 1599, a company of actors known as the Lord Chamberlain’s Men built a public theater on a site outside London. Named the Globe, the theater soon achieved commercial success largely due to the popular appeal of works by its resident playwright, William Shakespeare (1564-1616).
Although it was just one of several similar structures built in England during that time, the Globe has assumed a mythic status because of its strong association with Shakespeare. Scholars, actors, and directors have studied the Globe extensively in an effort to understand the playwright’s life and work more fully. Despite this exhaustive research, however, the exact appearance, size, and shape of the Globe, which was demolished in 1644, remain elusive.
In the nearly four centuries since Shakespeare’s death, his plays have been performed regularly and translated into every major language. Dozens of theaters dedicated to Shakespeare have been built around the world, drawing from diverse architectural sources. Some were designed to evoke the character of true Elizabethan theaters despite the lack of definitive information about those original structures. Others simply reflect the prevailing architectural styles of the eras in which they were constructed.
This exhibition traces Shakespearean theaters from the 16th century to the present. It culminates with a series of proposals commissioned by the National Building Museum for hypothetical, 21st-century Shakespearean theaters. These projects suggest innovative approaches to the challenge of presenting 400-year-old plays to modern audiences. In doing so, they also offer insights into the complex interrelationships between dramatic performances and the spaces that accommodate them.
Throughout this exhibition, the National Building Museum uses the American spelling of the word “theater” except when it is part of a proper name that uses the British spelling (“theatre”).
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Elizabethan Theater The nearly 45-year reign of Queen Elizabeth I, from 1558 to 1603, is widely regarded as a golden age in English cultural history, noted for the exceptional quality and quantity of literary drama written during the period.
Prior to the Elizabethan Era, itinerant troupes of professional actors performed throughout England in town halls, schoolhouses, and various ad hoc venues. By the mid-to-late 16th century, the growing popularity of theater created a demand for new facilities built especially for the presentation of plays, particularly in London. The construction of such buildings was opposed, however, by Puritans and others who considered secular drama vulgar or even profane. As a result, most of the earliest public playhouses were built outside the city proper, often in seedy districts known for rowdy taverns, brothels, and even “bear-baiting” arenas, in which patrons would place bets on fights between chained bears and packs of dogs.
The first structure in the London area built expressly for theatrical productions was the Red Lion, completed in 1567. It was followed in 1576 by an establishment known simply as the Theatre, the name of which soon entered common usage as a new, generic term for a playhouse. All told, at least twelve public and six private theaters were built in and around London during Shakespeare’s lifetime.
View of London in 1600 Civitas Londini…, 1600 Published by John Norden; Engraver unknown Engraving (reproduction) By permission of the Royal Library, Stockholm
This engraving provides a panoramic view of London near the end of the Elizabethan Era. Visible at left center is the area known as Bankside (or Southwark), site of several prominent theaters that also appear in the inset map at lower right.
Last revised 1/9/2007 2 National Building Museum Reinventing the Globe: A Shakespearean Theater for the 21st Century Exhibition script The highlighted structures are:
1. The Rose (completed in 1587) 2. The Swan (completed in 1596) 3. The Globe (completed in 1599) 4. The Bear Garden, a bear-baiting ring that was converted into the Hope theater in 1614
The Rose Bankside, now part of London, United Kingdom Completed: 1587 Demolished: Sometime after 1606
The Rose was the first public theater built in Bankside (also known as Southwark), an area south of the River Thames that was notorious for its brothels and gambling establishments. Shakespeare’s Titus Andronicus premiered at the Rose, as did works by his famous contemporaries, including Christopher Marlowe and Ben Jonson.
Archaeologists discovered the remains of the Rose during an exploratory dig in 1989. The subsequent excavation of the site provided substantial direct information about the size and design of Elizabethan theaters.
Top: Conjectural drawing of a performance at the Rose, 1999 William Dudley, based on drawings by Jon Greenfield and C. Walter Hodges Digital rendering Courtesy of The Rose Theatre Trust, London
Bottom left, right: Excavation diagram showing original foundations of the Rose Cordelia Hall and Peter Hart Allison, based on excavation data by Julian Bowsher and Jon Greenfield Digital drawing Courtesy of the Museum of London Archaeology Service
Excavation diagram showing evidence of later modifications to the Rose Cordelia Hall and Peter Hart Allison, based on excavation data by Julian Bowsher and Jon Greenfield
Last revised 1/9/2007 3 National Building Museum Reinventing the Globe: A Shakespearean Theater for the 21st Century Exhibition script Digital drawing Courtesy of the Museum of London Archaeology Service
The Swan Bankside, now part of London, United Kingdom Built: 1594-96 Demolished: Sometime after 1632
In 1596, a Dutch scholar named Johannes de Witt visited the Swan—the second theater built in Bankside—and sketched its interior. A copy of that drawing, made by Aernout (or Arendt) van Buchell, survives today. While it is impossible to know how faithfully van Buchell reproduced the original, the drawing is nevertheless the only extant contemporary depiction of an Elizabethan stage.
The exterior of the Swan appeared in several contemporary engravings of London, including one by Claes Jansz. Visscher, a detail of which is reproduced here. Visscher’s rendering showed the Swan and other theaters as hexagons or octagons in plan. Current scholarship suggests that the structures actually had many more sides, a discovery that casts doubt on the general accuracy of Visscher’s engraving.
Top: Sketch of the Swan, showing the stage and adjacent galleries, after 1596-97 Arendt van Buchell, after a drawing by Johannes de Witt Manuscript, pen and brown ink on paper (reproduction) Courtesy of the University Library, Utrecht
Detail from Londinum florentissima Britanniae urbs ..., showing the Swan, ca. 1625 Claes Jansz. Visscher Engraving (reproduction) By permission of the Folger Shakespeare Library, Washington, D.C.
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Plan of London, from Civitates Orbis Terrarum, vol. 1, 1572 Frans Hogenberg Engraving with hand-coloring (reproduction) Courtesy of UCL Art Collections, University of London
In the 1570s, before most of the Elizabethan-era theaters were built, the south bank of the Thames was already the site of bear-baiting arenas and other less reputable establishments.
The Long View of London, 1647 Wenceslaus Hollar Engraving (reproduction) By permission of the Folger Shakespeare Library, Washington, D.C.
This engraving by Wenceslaus Hollar is considered one of the most credible renderings of 17th- century London, despite the fact that it includes a significant error: the labels for the Globe and the nearby bear-baiting arena are reversed.
The Globe, mistakenly labeled “Beere bayting h,” appears as a large round structure at left center. Presumably, the structure depicted here was the second Globe, built in 1614 on the original site after the original building burned down. Scholars believe that this structure, like the first, was polygonal in plan; Hollar’s round form may have been a simplification to make the building easier to draw.
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The Globe The Globe was built out of timbers salvaged from an earlier playhouse, and followed the standard design for public theaters of the era. It featured an open-air courtyard in which audience members known as “groundlings” stood, exposed to the elements, to watch performances. Surrounding the courtyard were tiered “galleries,” where patrons who paid extra enjoyed better views and protection from the weather. Although the theater could accommodate some 3,000 people, its layout—with a “thrust” stage extending into the audience—fostered an intimate relationship between actors and spectators. Audiences were typically boisterous, often drinking, eating, and shouting comments during performances. Plays were presented with few props and little custom scenery.
The original Globe stood until 1613, when a cannon fired during a performance of Henry VIII ignited the thatch roof covering the galleries. The resulting fire destroyed the theater. A second Globe, built on the same site, opened in 1614. In 1642, the Puritan- led Parliament ordered all public theaters in England closed. The reconstructed Globe was most likely demolished in 1644 to make way for tenement housing.
The exact appearance of the first and second Globes remains a mystery. Historians have gleaned clues from several sources, including engravings of London dating from the 1600s, a construction contract for another theater that refers to the Globe’s design, and archaeological excavation of the Globe site. Nevertheless, given the scarcity of information about the original structures, any attempts to portray or to replicate the Globe are ultimately speculative.
Last revised 1/9/2007 6 National Building Museum Reinventing the Globe: A Shakespearean Theater for the 21st Century Exhibition script Contemporary Views of London and the Globe Various engravings of London in the 1600s depict the first or second Globe, but these images are often mutually contradictory, making an assessment of their accuracy difficult. Shown here are details from three such engravings.
In the rendering published by John Norden in 1600, the Globe appears to be hexagonal in plan, though an inset drawing on the same engraving shows it as being circular. Current scholarship indicates that the Globe was a polygon with as many as 20 sides.
The circa-1625 engraving by Claes Jansz. Visscher shows what is presumably the second Globe as being octagonal in plan, with strangely tall proportions. Visscher may have based his drawing on earlier images such as Norden’s, rather than direct observation; experts now regard it as highly inaccurate.
In the engraving by Wenceslaus Hollar, the labels for the Globe and a nearby bear-baiting arena (“Beere bayting h[ouse]”) are reversed. Both buildings appear perfectly round, which may reflect an attempt to simplify their polygonal forms. In most other respects, Hollar’s view is believed to be accurate.
From top: Detail from Civitas Londini…, showing the Globe in context, 1600 Published by John Norden; Engraver unknown Engraving (reproduction) Courtesy of the Royal Library, Stockholm
Detail from Londinum florentissima Britanniae urbs …, showing the Globe in context, ca. 1625 Claes Jansz. Visscher Engraving (reproduction) By permission of the Folger Shakespeare Library, Washington, D.C.
Detail from The Long View of London, showing the Globe in context, 1647 Wenceslaus Hollar Engraving (reproduction) By permission of the Folger Shakespeare Library, Washington, D.C.
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The “Edward Alleyn” Model of Shakespeare’s Globe Playhouse The blueprints and instructions reproduced here were intended to allow students and aficionados of Shakespeare to build a model of the Globe that would be “of interest, of aid, and, for some, of inspiration.” The kit was produced by Edward Alleyn Loomis, of Cambridge, Massachusetts. Curiously, Edward Alleyn was also the name of one of the most famous actors in Elizabethan England. The relationship between Edward Alleyn Loomis and the original Edward Alleyn, if any, is unknown.
From left to right: Instructions to create a model of “Edward Alleyn’s Globe,” 1952 Edward Alleyn Loomis, Loomis Laboratory, Cambridge, Massachusetts Digital reproduction Courtesy of Folger Shakespeare Library, Washington, D.C.
Illustrated directions to create a model of “Edward Alleyn’s Globe,” 1952 Edward Alleyn Loomis, Loomis Laboratory, Cambridge, Massachusetts Digital reproduction Courtesy of Folger Shakespeare Library, Washington, D.C.
Blueprint, “Edward Alleyn’s Globe,” 1952 Edward Alleyn Loomis, Loomis Laboratory, Cambridge, Massachusetts Digital reproduction Courtesy of Folger Shakespeare Library, Washington, D.C.
Excavation of the Original Globe Site Historians have long agreed that the exterior walls of the Globe formed a polygon in plan, but the exact number of sides has been uncertain. Experts have used geometrical principles and knowledge of Elizabethan construction methods to argue for various possible shapes.
The first direct evidence of the Globe’s exact shape emerged in the late 1980s, when archaeologists began excavating a portion of the site on which the structure had stood. Preliminary results of the excavation suggested that the theater was a regular polygon with 20 sides, approximately 100 feet in diameter from exterior corner to opposite corner. More
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From left to right:
Sketch documenting the Globe excavation site, 1990 Museum of London Archeology Service Digital reproduction Courtesy of Franklin J. Hildy and the Museum of London Archeology Service
Drawing of plan for 20-sided Shakespeare’s Globe, London, superimposed on excavation site sketch, 1995 / 2001 Jon Greenfield with dimensions added by Franklin J. Hildy Digital reproduction Courtesy of Jon Greenfield and Franklin J. Hildy
Conjectural geometric diagram showing method for generating a 24-sided Globe, 1994 Jon Greenfield, based on research by Richard Hosley and John Orrell Digital reproduction Courtesy of Pentagram Design, London
Conjectural geometric diagram showing method for generating a 20-sided Globe, 1994 Jon Greenfield, based on research by Richard Hosley and John Orrell Digital reproduction Courtesy of Pentagram Design, London
Excavation plan showing hypothetical geometrical derivation of an 18-sided Globe, 1992 Franklin J. Hildy Digital reproduction Courtesy of Franklin J. Hildy
Excavation plan showing hypothetical geometrical derivation of a 16-sided Globe, 2006 Tim Fitzpatrick and Russell Emerson Digital reproduction Courtesy of Timothy Fitzpatrick, University of Sydney
Last revised 1/9/2007 9 National Building Museum Reinventing the Globe: A Shakespearean Theater for the 21st Century Exhibition script The Globe Playhouse: photographs of the models made for the English seminar of Basel University, Switzerland; mainly based on John C. Adams, 1947 Manuscript book with eight mounted black-and-white photographic prints Loan courtesy of the Folger Shakespeare Library, Washington, D.C.
This album of photographs shows views of a model made by students at Basel University, largely based on the research of John Cranford Adams.
Conjectural model of the Globe, completed 1950 John Cranford Adams, with Irwin Smith Walnut, plaster, and pencil eraser strips Scale: 1/2” = 1’ Loan courtesy of Hofstra University, New York
This conjectural model of the Globe was based on research conducted by John Cranford Adams (1903-86) over the course of several decades. Like many scholars of his era, he believed that the Globe had an octagonal plan, reflecting the influence of the circa-1625 engraving by Claes Jansz. Visscher, which was later discredited.
Adams, who served as president of Hofstra University, established an annual Shakespeare Festival there in 1950. The university later built a 5/6-scale replica of the Globe stage based on Adams’s model.
The Fortune Contract Some of the most valuable evidence regarding the appearance of the Globe comes from a construction contract for another theater called the Fortune, which was completed in 1600. Although the Fortune, unlike the Globe, was square in plan, many aspects of its design—such as the structure of the viewing galleries—were explicitly based on the Globe.
Contract for the Fortune theater (recto and verso), 1600 [1599] William Harris (Public Scrivener) Ink on parchment (reproduction)
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Queen Elizabeth Viewing the Performance of The Merry Wives of Windsor in the Globe Theatre, ca. 1840 David Scott Oil on canvas (reproduction) By permission of V&A Images / Victoria and Albert Museum, London
David Scott’s painting of Queen Elizabeth I attending a play at the Globe was one of the earliest known attempts to depict the interior of the theater. The basis for Scott’s assumptions about the character of the space is unknown.
William Poel’s Proposed Globe Reconstruction William Poel (1852-1934) was a Shakespearean actor and producer who advocated a return to simple Elizabethan staging practices, free of the elaborate scenery and production techniques common in the mid-19th century. Pictured here is a model showing his unexecuted proposal for a full-scale replica of the Globe. In this photograph, the model appears to have a polygonal ground floor plan.
Model of the Globe Theatre, based on a proposal by William Poel, ca. 1897 Model by Mrs. Mond (first name unknown) Unknown photographer By permission of V&A Images / Theatre Museum, London
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A Hypothetical Globe by Joseph Quincy Adams Joseph Quincy Adams (1881-1946) was a professor of English at Cornell University who later served as the first director of the Folger Shakespeare Library. These drawings by Adams depict a hypothetical reconstruction of the Globe, based on the assumption—later disproved—that the original structure was octagonal in plan.
Top: Interior perspective, Shakespeare’s Globe Theatre, Conjectural Reconstruction, 1922 Joseph Quincy Adams Pen and ink (reproduction) By permission of the Folger Shakespeare Library, Washington, D.C.
Inset: Plan diagram, Shakespeare’s Globe Theatre, Conjectural Reconstruction, 1922 Joseph Quincy Adams Pen and ink (reproduction) By permission of the Folger Shakespeare Library, Washington, D.C.
Bottom: Section, Shakespeare’s Globe Theatre, Conjectural Reconstruction, 1922 Joseph Quincy Adams Pen and ink (reproduction) By permission of the Folger Shakespeare Library, Washington, D.C.
The Globe Playhouse: A Conjectural Reconstruction by C. Walter Hodges This cut-away perspective by C. Walter Hodges (1909-2004) is one of the most detailed conjectural depictions of the original Globe. Hodges believed that the famous drawing of the Swan by Johannes de Witt suggested that Elizabethan theaters were many-sided polygons in plan. This rendering appears to portray the Globe as a 16-sided structure.
The Globe Playhouse, 1599-1613: A Conjectural Reconstruction, 1958 C. Walter Hodges Two-color poster print (reproduction) By permission of the Folger Shakespeare Library, Washington, D.C.
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Shakespearean Theaters Since the Globe During the past 400 years, there have been numerous proposals to construct stages or theaters specifically for the presentation of Shakespeare’s works. Few of these proposals came to fruition, however, until the twentieth century.
There are now dozens of Shakespearean theaters all over the world, and they represent diverse views about the appropriate architectural character of such structures. Some strive to recreate, to the extent possible, an “authentic” Elizabethan environment. Others evoke the essence of Elizabethan theaters without actually replicating the structural systems or finishes of the original buildings. Still others have been conceived simply as state-of-the-art facilities avoiding any direct references to the Globe or its contemporaries.
The varied designs of these theaters have necessitated widely divergent approaches to the staging and production of Shakespeare’s plays.
Last revised 1/9/2007 13 National Building Museum Reinventing the Globe: A Shakespearean Theater for the 21st Century Exhibition script The Quest for Authenticity Many Shakespeare aficionados maintain that his work is best appreciated when if presented in a historically accurate manner. There have been various initiatives to create an “authentic” replica of the Globe or, at least, an Elizabethan playhouse. Due to the lack of direct, irrefutable data about the appearance of actual Elizabethan theaters, however, this quest for authenticity has yielded a variety of quite different structures.
Elizabethan Fit-Ups A fit-up is a temporary stage that can be dismantled and reassembled easily in different venues. In the 1890s, several Shakespearean producers created fit-ups evoking the stages of the Elizabethan Era. Pictured here are a fit-up based on the Fortune theater stage as developed by William Poel for the London Royal Theatre, and a fit-up of an Elizabethan stage for Harvard University, which was used in various facilities on the university’s campus.
Top: Fortune Fit-Up, Royalty Theatre, London, 1893 William Poel Unknown photographer By permission of V&A Images / Theatre Museum, London
Bottom: Harvard Fit-Up, 1895 Unknown photographer By permission of The Harvard Theater Collection, Houghton Library of the Harvard College Library, Cambridge, Massachusetts
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Earl’s Court Globe Earl’s Court, London, United Kingdom Completed: 1912 Demolished: after closure of “Shakespeare’s England” exposition Architect: Sir Edwin Lutyens
The first working replica of the Globe—albeit on a somewhat smaller scale—was built for the “Shakespeare’s England” exhibition in the Earl’s Court area of London in 1912. Sir Edwin Lutyens, who also designed the British Ambassador’s Residence in Washington and various buildings for the British-Indian government in New Delhi, was the architect for the project.
Exterior view, Earl’s Court Globe, London, 1912 Unknown photographer By permission of the Birmingham Shakespeare Library, B.L.S.
“Gentlemen’s Room,” Earl's Court Globe, London, 1912 Unknown photographer By permission of the Birmingham Shakespeare Library, B.L.S.
Sections, Elizabethan Theatre, Folger Shakespeare Library, ca. 1929 Paul Philippe Cret Graphite and colored pencil on paper Loan courtesy of the Folger Shakespeare Library, Washington, D.C.
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Elizabethan Theatre at the Folger Shakespeare Library Washington, D.C. Completed: 1932 Architect: Paul Philippe Cret
The Elizabethan Theatre at the Folger Shakespeare Library has an open floor surrounded by three tiers of galleries, much like the original Globe. With its rectangular plan, however, the Folger actually more directly evokes the Fortune theater of 1600.
Interior view of the Folger Shakespeare Library auditorium, 1994 Photograph by Julie Ainsworth By permission of the Folger Shakespeare Library, Washington, D.C.
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Globe Replicas at Expositions of the 1930s During the Great Depression, the United States government and numerous corporations collaborated to produce a series of world’s fairs or expositions in cities across the country. The most famous elements of these fairs were the exhibits that celebrated the promise of new technologies and social progress. Curiously, given the predominantly futuristic themes of the fairs, they also included a number of nostalgic components. Five of the expositions of the 1930s featured “replicas” of the Globe, which, like many of the other attractions at the fair, took liberties with the notion of historical accuracy.
Top left, right: The Old Globe Theatre at the Century of Progress Exhibition, Chicago, Illinois, 1934 Unknown photographer By permission of Special Collections, University of Arizona Library, Thomas Wood Stevens Collection, MS 2 Box 23 Folder 2 (N-6537)
Stage at the Old Globe Theatre at the Century of Progress Exhibition, Chicago, Illinois, 1934 Unknown photographer By permission of Special Collections, University of Arizona Library, Thomas Wood Stevens Collection, MS 2 Box 23 Folder 2 (N-6601)
Center left, right: Performance at the Old Globe Theatre at the California Pacific International Exhibition, San Diego, California, 1935 Unknown photographer By permission of Special Collections, University of Arizona Library, Thomas Wood Stevens Collection, MS 2 Box 23 Folder 3 (N-6930)
The Old Globe Theatre at the Texas Centennial Exposition, Dallas, Texas, 1936 Unknown photographer By permission of Special Collections, University of Arizona Library, Thomas Wood Stevens Collection, MS 2 Box 23 Folder 6 (N-12462)
Bottom left, right: View of the Globe Theatre at the Great Lakes Exposition, Cleveland, Ohio, 1936 Unknown photographer
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The Old Globe Theatre at the New York World’s Fair, New York, New York, 1939 Unknown photographer Courtesy of Franklin J. Hildy
Globe III Detroit, Michigan Proposed: 1979 (not built
One of the most ambitious campaigns to create a Globe replica arose in the United States in the 1970s. The project was alternately dubbed “Shakespeare’s Globe in America” or “The Third Globe” (the first Globe being the original, and the second the rebuilt version after the fire in 1613). Proposed for a site in Detroit, it would have been the centerpiece of a small village, creating a miniature theme park.
Top: Perspective rendering, Shakespeare’s Globe in America, proposed for Detroit, Michigan, 1979-1982 C. Walter Hodges Watercolor (reproduction) By permission of the Folger Shakespeare Library, Washington, D.C.
Bottom: Aerial perspective sketch, Shakespeare’s Globe in America, proposed for Detroit, Michigan, 1979-1982 C. Walter Hodges Photocopy hand-colored in crayon (reproduction) By permission of the Folger Shakespeare Library, Washington, D.C.
Shakespeare’s Globe London, United Kingdom Completed: 1997 Architects: Pentagram Design
Last revised 1/9/2007 18 National Building Museum Reinventing the Globe: A Shakespearean Theater for the 21st Century Exhibition script The movement to build a credible replica of the Globe culminated with the construction of Shakespeare’s Globe in London, completed in 1997. Located very near—but not exactly on— the site of the original Globe, it is the most elaborate reconstruction of an Elizabethan theater to date. In the decade since this project was built, new theories regarding the exact appearance of the original Globe have continued to emerge, however, so even this meticulously designed and constructed project cannot be regarded as definitive.
From top: Exterior view of Shakespeare's Globe, London, 2006 Photograph by Franklin J. Hildy By permission of Franklin J. Hildy
Panoramic view of interior galleries under construction, Shakespeare's Globe, London, prologue season, 1996 Photograph by Franklin J. Hildy Courtesy of Franklin J. Hildy
Aerial view showing context of Shakespeare’s Globe, London, 1997 Photograph by Franklin J. Hildy By permission of Franklin J. Hildy
Performance at Shakespeare's Globe, London, 2003 Courtesy of Shakespeare Globe Center (USA) Research Archives
Drawing illustrating the design of the “Heavens,” on the ceiling above the stage, for Shakespeare’s Globe, London, 1994 Jon Greenfield Digital reproduction Courtesy of Pentagram Design, London
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The Essence of “Globeness” A number of Shakespearean theaters built since the mid-20th century reflect a desire to capture the essence of the Elizabethan experience without actually replicating the structure, scale, and finishes of the original buildings. The theaters based on this philosophy tend to be basically round in plan, with tiered viewing galleries like the Globe, but they are generally enclosed and use modern materials, furnishings, lighting, and other technologies.
Festival Theatre Stratford, Ontario, Canada Completed: 1957 Architects: Rounthwaite and Fairfield Architects, Toronto
Built for the Stratford Shakespearean Festival of Canada, the Festival Theater is an architectural hybrid. Its faceted plan evokes the polygonal shape of the Globe, while the folded- plate roof simultaneously lends a very modern feel to the complex and alludes to the temporary, tented structure that housed the festival in its early days. Inside, the stage is a cross between a thrust stage like the one at the Globe, and an open platform stage such as might be found in an ancient Greek amphitheater.
From top: Rear view of the Festival Theatre, Stratford, Ontario, 1998 Photograph by Kerry Hayes Courtesy of the Stratford Festival of Canada Archives
View of the stage at the Festival Theatre, Stratford, Ontario, 1998 Photograph by Terry Manzo Courtesy of the Stratford Festival of Canada Archives
Cut-away perspective drawing of the Festival Theatre, Stratford, Ontario Richard Leacroft Digital reproduction
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Haller Globe Schwäbisch Hall, Germany Completed: 2000 Architects: Architektengemeinschaft für das Haller Globe (Eckard Frey, Siegfried Kienle, Wolfgang Kuhn, Ulrich Mix, Roland Schuhmann, Martin Weidenbach, and Renate Zink)
Located on an island in the middle of the Kocher River, the Haller Globe was conceived as a temporary building that could be dismantled and rebuilt each year. The design incorporated prefabricated components and lightweight materials such as plywood in order to facilitate rapid construction. It took contractors only three weeks to complete the basic structure in 2000.
The Haller Globe is, at first glance, strikingly modern. In its overall form, materials, and seating arrangements, however, it strongly alludes to the English theaters of the Elizabethan Era.
Exterior of the Haller Globe, Schwäbisch Hall, Germany, 2002 Photograph by Franklin J. Hildy Courtesy of Franklin J. Hildy
Interior of the Haller Globe, Schwäbisch Hall, Germany, 2002 Photograph by Franklin J. Hildy Courtesy of Franklin J. Hildy
Isonometric cut-away perspective drawing, Haller Globe, Schwäbisch Hall, Germany Digital drawing Courtesy of Architekt Roland Schuhmann, Schwäbisch Hall, Germany
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Ice Globe Jukkasjärvi, Sweden Completed: 2003 Melted: 2003
Each winter for the past 17 years, in a town 200 kilometers north of the Arctic Circle, a Swedish tourism company has built a temporary hotel made out of ice. As the popularity of the Ice Hotel has grown, the proprietors have added restaurants and other attractions to the complex.
In 2003, the company built the Ice Globe, an open-air theater also made entirely of ice. While the proportions of the theater were unlike those of the Globe, the design incorporated decorative motifs intended to evoke the spirit of Elizabethan construction, though rendered in a decidedly different material.
From top: Evening view of the Ice Globe, Jukkasjärvi, Sweden, 2003 Photograph by Cindy-Lou Dale Courtesy of Cindy-Lou Dale
Exterior view of the Ice Globe, Jukkasjärvi, Sweden, 2003 Photograph by Cindy-Lou Dale Courtesy of Cindy-Lou Dale
A performance of Hamlet at the Ice Globe Theater, Jukkasjärvi, Sweden, 2003 Photograph by Bryan + Cherry Alexander [JJ0356-02] © B+C Alexander / ArcticPhoto.com
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The New Globe Theater New York, New York Proposed completion: 2012 Architect of Castle Williams: Jonathan Williams Architects of New Globe proposal: Foster and Partners
The proposed New Globe Theater in New York City was conceived around the adaptive reuse of Castle Williams, a fort built from 1807 to 1811 on Governors Island, which lies in New York Harbor between Brooklyn and Manhattan. The fort, which was long used as a military prison, is round in plan, with three levels surrounding an open courtyard, much like the original Globe. Moreover, by coincidence, the overall dimensions of the fort are remarkably similar to those of the Globe.
Foster and Partners has devised a scheme for the rehabilitation of the fort, with a modern theater inserted into the courtyard and covered by a glass roof to preserve the sense of openness to the sky. The design not only preserves a historic monument, but is also environmentally sustainable, with modern cooling, heating, and lighting systems.
Cut-away perspective rendering, New Globe Theater, New York, New York, 2006 Foster and Partners Digital drawing Courtesy of New Globe Theater, New York
Auditorium of New Globe Theater, New York, New York,2005 Foster and Partners Digital drawing Courtesy of New Globe Theater, New York
Roof deck of New Globe Theater, New York, New York, 2005 Foster and Partners Digital drawing Courtesy of New Globe Theater, New York
Last revised 1/9/2007 23 National Building Museum Reinventing the Globe: A Shakespearean Theater for the 21st Century Exhibition script Auralization acoustic model for the proposed New Globe Theater, 2006 ARUP Run time: 38 seconds Courtesy of the New Globe Theater and ARUP
This computer animation traces the patterns of sound in the auditorium of the proposed New Globe Theater. Tools such as this animation are used to perfect the acoustical design of performance spaces.
Architectural model of the proposed New Globe Theater, 2005 Foster and Partners Balsa wood and acrylic Scale 1:150 Courtesy of New Globe Theater, New York, New York
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State-of-the-Art Theaters Modern Shakespearean theaters often avoid any attempts to replicate the exact appearance or even the general character of Elizabethan playhouses. This is particularly true among more recent projects, as theatrical companies have increasingly relied on advanced production technologies while audiences have come to expect high levels of comfort and convenience in theatrical facilities.
Royal Shakespeare Company Complex Stratford-Upon-Avon, United Kingdom Completion of Shakespeare Memorial Theatre: 1879 (burned in 1926), renovated in 1986 Completion of Royal Shakespeare Theatre: 1932 Architect of Royal Shakespeare Theatre: Elisabeth Scott Projected completion of renovated complex: 2010 Architects of renovation: Bennetts Associates
The Royal Shakespeare Theatre, in the playwright’s hometown of Stratford-Upon-Avon, occupies a complex that includes a renovated Victorian structure, now called the Swan, and a large building from 1932 that serves as its main performance venue. The latter structure was emblematic of its era, with modest Art Deco ornament throughout. Its interior reflected the influence of cinema, featuring a proscenium stage and a vast auditorium.
The complex is currently undergoing a comprehensive renovation. Interestingly, the centerpiece of the project is a thorough redesign of the 1930s theater, which will yield a space with a layout reminiscent of more traditional Shakespearean theaters.
Top: View of proposed Royal Shakespeare Company Complex renovation, 2006 Cityscape Images Digital rendering Courtesy of the Royal Shakespeare Company, Stratford-upon-Avon
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Center left, right: Exterior view, Royal Shakespeare Theater Unknown photographer Courtesy of the Royal Shakespeare Company, Stratford-upon-Avon
Exterior view from Theatre Gardens, Swan Theatre, Royal Shakespeare Company Complex Unknown photographer Courtesy of the Royal Shakespeare Company, Stratford-upon-Avon
Bottom: Interior view from the balcony, Swan Theatre, Royal Shakespeare Company Complex Unknown photographer Courtesy of the Royal Shakespeare Company, Stratford-upon-Avon
Sidney Harman Hall Washington, D.C. Projected completion: Fall 2007 Theater architects: Diamond + Schmitt Architects Inc. Base building architects: SmithGroup
Currently under construction near the National Building Museum is a mixed-use building that will house Sidney Harman Hall, a performance space commissioned by the Shakespeare Theatre Company. The hall is part of the newly designated Harman Center for the Arts, which also includes the existing Lansburgh Theatre on 7th Street, NW. The company will present plays at both venues.
The new auditorium is a highly flexible facility, capable of accommodating diverse staging practices for Shakespearean plays, as well as a variety of other types of productions, including chamber music, opera, and dance. The stage itself can be easily adapted to different configurations, allowing for thrust, proscenium, or open stage formats.
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From top: Auditorium in open stage format, Sidney Harman Hall, Washington, D.C., 2006 Diamond + Schmitt Architects / AMD Rendering Digital rendering Courtesy of Diamond + Schmitt Architects and AMD Rendering
Auditorium set for a banquet, Sidney Harman Hall, Washington, D.C., 2006 Diamond and Schmitt Architects / Cicada Design, Inc. Digital rendering Courtesy of Diamond + Schmitt Architects and Cicada Design, Inc.
Orchestra Level Lobby, Harman Center for the Arts, Washington, D.C., 2006 Diamond + Schmitt Architects / Cicada Design, Inc. Digital rendering Courtesy of Diamond + Schmitt Architects and Cicada Design, Inc.
Bottom: Exterior view, Harman Center for the Arts, Washington, D.C., 2006 Diamond + Schmitt Architects / Pentagram / AMD Rendering Digital rendering Courtesy of Diamond + Schmitt Architects, Pentagram, and AMD Rendering
Sidney Harman Hall Configurations, 2006 Narration by Michael Kahn and Jack Diamond Run time: 5 minutes, 45 seconds Courtesy of Diamond + Schmitt Architects, Toronto
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Auditorium acoustic paneling system, Sidney Harman Hall, Washington, D.C., 2006 Diamond + Schmitt Architects and Talaske Makore wood Loan courtesy of Diamond + Schmitt Architects, Toronto
This paneling system will simultaneously lend visual warmth to the auditorium and enhance the acoustics of the space.
Sectional model of Sidney Harman Hall, Washington, DC, 2006 Diamond + Schmitt Architects and Peter McCann Architectural Models Basswood Scale: 1/4" = 1'-0" Loan courtesy of Diamond + Schmitt Architects, Toronto
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A Shakespearean Theater for the 21st Century In order to encourage creative thinking about the role of physical structures in dramatic performances, the National Building Museum commissioned four architecture firms and one theater consultant/set designer to conceive hypothetical Shakespearean theaters for the 21st century.
The resulting projects all propose taking advantage of modern technologies to make Shakespeare’s work more accessible—physically, intellectually, and emotionally—to contemporary audiences. While strikingly innovative in concept and appearance, these proposals nonetheless reflect an enduring interest in certain fundamental characteristics of Elizabethan theater, such as the intimate connections between players and spectators, and the inherent vitality and unpredictability of live performance. Above all, they suggest the possibility of a powerful integration of architectural space and human activity, potentially bringing new meaning to venerable dramatic works.
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John Coyne
John Coyne Designer’s Statement: A New Global Theatre Electronic technology allows us to communicate like never before. What if we were to use that technology in theater, expand upon it, and dramatize it? Could “theater in the round” imply not just a physical shape, but a production exploiting the full range of possibilities afforded by modern communication?
I propose an alternative presentation of Shakespeare’s work based on such a premise. For a production of Macbeth, for instance, three similar stage sets would be designed for different locations around the world and then linked electronically using high- definition Internet 2. All three performances would begin simultaneously and, through “live streaming,” interact with one another. Macbeth might be in one location and Lady Macbeth in another, yet technology would allow real-time dialogue between the actors. Through an integrated display of monitors, audiences of different cultures would see each another’s reactions to the same performance and perhaps communicate among themselves. The production could also allow simulcasts and podcasts for downloading and sharing via the Web.
The physical sets are conceived as scaffolds supporting the performers, audience, and technology simultaneously. Thus, the human and the technological components would be fully integrated in a single, global performance.
Photographic images Scenes from Macbeth directed by Michael Kahn, Shakespeare Theatre Company, Washington, D.C., 2004 Left to right: Act 1, Scene 5; Act 2, Scene 2; Act 3, Scene 1 By permission of John Coyne and the Shakespeare Theatre Company
Last revised 1/9/2007 30 National Building Museum Reinventing the Globe: A Shakespearean Theater for the 21st Century Exhibition script Sketches showing scenes from a performance of Macbeth in the hypothetical New Global Theater project, 2006 John Coyne Performance of Macbeth directed by Michael Kahn, Shakespeare Theatre Company, Washington, D.C., 2004 By permission of John Coyne and the Shakespeare Theatre Company
From left to right: Act 1, Scene 5 Act 2, Scene 2 Act 3, Scene 1
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H3 Hardy Collaboration Architecture
H3: Architects’ Statement Following Joe Papp Fifty years ago, Joseph Papp founded the New York Shakespeare Festival to bring Shakespeare to the broadest possible audience in New York City. As an homage to Papp and his mobile theater of the 1960s, which brought free theater to everyone, the Public Theater and H3 have collaborated on a concept of a theater that would be sited for maximum access by ordinary citizens.
The resulting design has two components. The first is an enclosed, 750-seat courtyard theater constructed in a high-rise location in Times Square, New York’s most populist public space. The second is a floating version of the original, which could be towed to waterfront performance sites in all five boroughs.
On the interior, in each case, the auditorium’s design investigates both intimacy and grand scale, shaping a dramatic space for plays that keep the audience as close as possible to actors on stage. Our study also investigates the technical needs of contemporary productions in a courtyard theater. Lighting, entrances, rigging, traps, and the relationship between scenery and the audience are planned for flexibility and future technical innovation.
PROJECT CREDITS The Public Theater: For help in conceiving The New Global Theater, we turned to Oskar Eustis, Artistic Director, and John Dias, Associate Artistic Director, of the Public Theater, an institution originated by Joe Papp in 1954. Their grasp of current Shakespeare performance issues and insights into his work provide the background and technical knowledge that enable us to propose a new form of popular theater.
May Adrales, Artistic Associate Ruth E. Sternberg, Director of Production and Facility Management
H3 Hardy Collaboration Architecture: Hugh Hardy FAIA, Partner-in-Charge Sarah Champlin
Last revised 1/9/2007 32 National Building Museum Reinventing the Globe: A Shakespearean Theater for the 21st Century Exhibition script Ariel Fausto, Associate Matthew Jogan Geoff Lynch AIA, Associate Susan Packard, Communications Manager Jason Van Nest
PS New York: Penelope Hardy Robert Silman Associates: Pat Arnett Satellite Maps: Sandborn New York Shakespeare Festival Poster Designs: Pentagram Production Photos: The Public Theater Model: LGM Model Studio
Model of Global Theater project, 2006 H3 Hardy Collaboration Architecture White acrylic Scale: 1/8”-1’-0” Loan courtesy of H3 Hardy Collaboration Architecture LLC, New York, New York
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Office of Mobile Design
Office of Mobile Design: Architects’ Statement GlobeTrotter Reviving the tradition of 17th-century, traveling Shakespearean troupes, OMD—working in conjunction with Shakespeare Festival/LA—has designed a mobile, modular vehicle able to transform into a fully equipped theater on any relatively flat site.
Measuring 12 feet wide by 50 feet long by 14 feet high, the vehicle would be hitched to a typical truck cab. Once parked in its temporary location, it would be deployed to present a stage that is roughly the same size as the stage at the original Globe. Wing walls unfold from the sides to enliven acoustics, provide scenery surfaces and filmed actor close-ups, and support lighting. Backstage, six pneumatic “PneuPods” inflate to provide dressing rooms, a production office, and a ticket/concession space—plus sleeping areas for the cast and crew. Along the interior spine of the vehicle are water closets, sinks, showers, and equipment racks.
Photovoltaic panels on the roof provide power for sound and lighting. One side of the vehicle contains three large LED screens, which would advertise the traveling troupe with scenes from previous performances while rolling down the road.
This cross-breeding of high theater and high camping would generate a carnival-like atmosphere and entertain a wide variety of changing audiences.
PROJECT CREDITS Office of Mobile Design Project Team: Jennifer Siegal, Principal Mark Stankard, Project Architect Matthew Fellows, Design Associate Erica Hernandez, Research
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GlobeTrotter project, 2006 Office of Mobile Design Digital renderings By permission of the Office of Mobile Design, Venice, California
Far left: Perspective renderings of closed vehicle (lower left) and fully deployed theater (right).
Center left: Plan showing phases of deployment: (1) closed vehicle, (2) initial deployment of stage, (3) full deployment of stage and PneuPods, (4) full set-up with inflatable seating.
Center: Elevations and diagram of vehicle components.
Center right: Rear view of deployed theater, with diagrams of deployment at bottom.
Far right: Audience view of deployed theater, with diagrams of deployment at bottom.
Model of GlobeTrotter project, 2006 Office of Mobile Design Stereolithographic model Scale: 1/8” = 1’-0” Courtesy of the Office of Mobile Design, Venice, California
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Michele Saee Studio
Michele Saee: Architects’ Statement Playrites As actors navigate through a play, their movements trace complex paths that add meaning to the spoken language. Ideas and emotions are conveyed through the energy of the performance itself, and the actors’ movements—never exactly the same from one show to the next—lend each performance its own unique character.
Our design was inspired by the nature of the theater during Shakespeare’s lifetime, when actors were typically members of organized companies that performed together regularly and shared each other’s lives. We realized the importance of their interactions both on and off the stage. It also became evident to us that the movements of the actors during a performance are important aspects of how they engage their audiences. We wanted to see their movements and interactions translated into the physical space of the theater.
We imagined a system in which sensors are attached to each performer to trace his or her movements on and off stage. Each path is recorded in a three-dimensional matrix, then converted to a still-frame image, and finally downloaded into a computer-aided design program to create an architectural representation of the actors’ paths. The space created would thus have the same fluidity and organic qualities of the performance itself.
PROJECT CREDITS Project Designer: Michele Saee Design Team: Ubaldo Arenas Alvarez Del Castillo Design assistant: Christopher Westendorf Media designer: Lisa Nugent Actor: Sam Golzari
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Digital renderings showing Playrites design process, 2006 Michele Saee Studio By permission of Michele Saee Studio, Beverly Hills, California
Top row, left to right: • Diagram of path traced by Mercutio • Diagram of path traced by Tybalt • Three-surface view • Top/bottom surface • Close-up #1 • Close-up #2 • First rendering of hypothetical structure • Second rendering of hypothetical structure
Bottom row, left to right: • Diagram of path traced by Romeo • Plan of three characters’ movements • Chart showing movements along X-axis • Surface generated digitally based on X-axis paths • Chart showing movements along Y-axis • Surface generated digitally based on Y-axis paths • Compression of digital surface, step #1 • Compression of digital surface, step #2 • Compression of digital surface, step #3 • Compression of digital surface, step #4
Animation showing derivation of Playrites projects, 2006 Michele Saee Studio Run time: 5 minutes, 20 seconds Courtesy of Michele Saee Studio, Beverly Hills, California
Last revised 1/9/2007 37 National Building Museum Reinventing the Globe: A Shakespearean Theater for the 21st Century Exhibition script This animation describes the derivation of the Playrites project, beginning with the tracking of actors’ movements, followed by the plotting of their paths in a digital matrix, and concluding with the translation of those paths into the proposed three-dimensional form.
Playrites paper experiment, 2006 Michele Saee Studio Projected image and paper Courtesy of Michele Saee Studio, Beverly Hills, California
This projection of an image onto crumpled paper suggests the rich sculptural implications of the process by which human movements are translated into three-dimensional form.
Model of Playrites project, 2006 Michele Saee Studio SLS (Selective Laser Sintering process) and Clear PETG (Polyethylene Terephthalate Copolymer) Scale: 1:400 Loan courtesy of Michele Saee Studio, Beverly Hills, California
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Rockwell Group
Rockwell Group: Architects’ Statement Transparent Theater: Alchemy and Transformation In re-imagining the Globe, Rockwell Group proposes a space that celebrates the ephemeral experience of live theater by breaking down the formality of a structured theatrical environment, opening it up to the sky and the surrounding landscape. It immerses the audience in the experience, allowing spectators to become active influencers and the theater itself to become a performer.
The conventional theater house is replaced with an embracing structure comprising a mutable, permeable membrane with pivoting scrims which are suitable for projections, as is the stage. It bears some resemblance to the original Globe, but with significant modifications. The layering of social classes implicit in the tiered seating of the Globe, for instance, is acknowledged and refuted. The "pit" becomes the prime location; theatergoers can climb the tiers to see or be seen.
Spaces are layered to accommodate the widest possible range of interactions, at a range of scales, in a variety of settings. Smaller, "fringe" versions of the structure could be placed in settings as diverse as a classroom, a park, or a large festival. We have presented the structure in a festival setting, using modules built from a kit of scaffolding parts. This theater could be assembled anywhere around the world. Each module has three tiers, with an open lower level so that spectators can flow freely into the "mosh pit" stage area. The audience can also migrate to the exterior balcony and watch the overall festival, where many smaller fringe stages create a whole new level of interactive spectacle.
PROJECT CREDITS Project Team: David Rockwell Barry Richards Bob Stern
Last revised 1/9/2007 39 National Building Museum Reinventing the Globe: A Shakespearean Theater for the 21st Century Exhibition script Rob Bissinger Jerry Sabatini Brian Drucker Timo Kuhn Vanessa Humes
Model team: Gaetane Bertol Joanie Schlafter Zhanna Gervich Eric Beauzay Morgan Moore Mike Dereskewicz
Design process sketches for Transparent Theater project, 2006 Rockwell Group Digital drawings By permission of Rockwell Group, New York, New York
Transparent Theater study models, 2006 Rockwell Group Left to right: Cardstock; Acrylic; Brass Scale: 1/4” = 1’-0” Loan courtesy of Rockwell Group, New York
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Renderings of Transparent Theater project in various settings, 2006 Rockwell Group Digital renderings By permission of Rockwell Group, New York, New York
Above: Central Park, New York, New York Top: Red Square, Moscow, Russia Center: Desert landscape Bottom: National Mall, Washington, D.C.
Transparent Theater presentation model, 2006 Rockwell Group Brass Scale: 1/8” = 1’-0” Loan courtesy of Rockwell Group, New York
Transparent Theater animation, 2006 Rockwell Group Run time: 45 seconds Courtesy of Rockwell Group, New York
Full-scale mock-ups of Transparent Theater pivoting panels, 2006 Rockwell Group Wood, Steel, Acrylic, White Sharkstooth Scrim Loan courtesy of Rockwell Group, New York
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Scrim projection, 2006 Rockwell Group Run time: 3 minutes, 51 seconds Courtesy of Rockwell Group, New York
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Exhibition credits
Curator: Martin Moeller Assistant Curator: Reed Haslach Exhibition Designer: MaryJane Valade Graphic Designer: Nancy Van Meter Registrar: Cecelia Gibson Exhibition Coordinator: Hank Griffith Master Carpenter: Christopher Maclay Installation Team: Shelagh Cole and Dana Twersky Advisory Committee: John F. Andrews, OBE Barbara Cohen-Stratyner Nicholas T. Goldsborough Franklin J. Hildy Lady Manning Gail Kern Paster Barbara C. Romer
Reinventing the Globe: A Shakespearean Theater for the 21st Century is made possible by The Morris and Gwendolyn Cafritz Foundation, Mrs. Emily Malino Scheuer, Jacqueline and Marc Leland, and the Wolfensohn Family Foundation.
The exhibition is presented in conjunction with the Shakespeare in Washington festival, which was organized by the John F. Kennedy Center for the Performing Arts.
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