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DIPLOMARBEIT Veronika Mandl View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES DIPLOMARBEIT Titel der Diplomarbeit „Shakespeare’s Globe: A Tripartite Analysis of a Cultural Phenomenon: Theatre – Audience – Press“ Verfasserin Veronika Mandl angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, 2009 Studienkennzahl lt. Studienblatt: A 343 Studienrichtung lt. Studienblatt: Anglistik und Amerikanistik Betreuer: Univ.-Prof. Dr. Werner Huber I Non-Plagiarism Declaration I hereby declare that the information on which my work is based has been collected by me personally and has not been plagiarised from any unacknowledged sources. I confirm to have conceived and written this thesis all by myself. I have properly credited the source of any and all quoted or paraphrased material. In addition, I have truthfully acknowledged any ideas borrowed and/or passages paraphrased by the works of other authors. Signature: Veronika Mandl II Table of Contents: FOREWORD………………………………………………………..…….. 1 I 1. INTRODUCTION….…………………...………………….…… 2 II 2. THE GLOBE PHENOMENON...…………………………..….. 14 2.1. The Modern Globe Theatre………………………………….…… 19 2.2. Depiction of Two Influential Globe Achievements………………. 21 2.2.1. Visiting Productions at the Globe……………………………….... 21 2.2.2. Shakespeare’s Globe on Tour ……………………………………. 25 2.2.2.1. Measure for Measure – 2005 Revival Pre-US Tour .26 2.2.2.1.1. Show Report……………………………………… 26 2.2.2.1.2. Front of House Show Report……………………… 27 2.2.2.1.3. Measure for Measure – Globe Theatre Tour of America 2005……………….…………………….. 28 2.3. Shakespeare’s Globe Backstage – Insights into the Working Policies of this Theatre ………………...…………………………. 32 2.3.1. Background Information ………..…………………………..……. 32 2.3.2. Advance Sales by Season ………………………………………… 36 2.3.3. Documentation of Productions at the Globe……………………… 37 2.3.3.1. The Times are Changing …………………………. 43 2.3.3.2. Globe Topics ……………………………………... 44 2.3.3.3. Wheelchair Users ………………………………… 46 2.3.3.4. The Weather …………………………………….... 47 2.3.3.5. The Traffic ……………………………………….. 48 2.3.3.6. The Globe Staff …………………….……………. 49 2.3.3.7. Topical Problems of Each Season………………… 50 2.3.3.8. Complaints ……………………………………….. 51 2.3.3.9. Contemporary Documents ……………………….. 52 III 2.3.3.10. Romance ………………………………………….. 55 2.3.3.11. Résumé …………………………………………… 55 2.3.3.12. Audience Response ………………………………. 56 3. THE AUDIENCE AS A FURTHER MEMBER OF THE CAST..…. 58 3.1. Authenticity ……………………………………………………… 61 3.2. Actor-Audience Relationship …………………………………….. 67 3.3. Audience Response ………………………………………………. 75 III TWO EXEMPLARY ANALYSES …………………………………….... 77 4. ANALYSIS I ………………………..…………………….……………. 78 4.1. A Midsummer Night’s Dream ……………………………………. 78 4.2. The Three Productions ………………………………………….... 78 4.2.1. A Midsummer Night’s Dream 1996 ……………………………… 79 4.2.2. A Midsummer Night’s Dream 2002 ……………………………… 79 4.2.3. A Midsummer Night’s Dream 2008 ……………………………… 79 4.3. Critical Reception – Analysis of Reviews …..…………………… 80 4.4. Prominent Themes ………………………………………………. 81 4.4.1. Representation of the Globe in Press Reviews …………………... 81 4.4.2. Nostalgia for the Elizabethan Age...……………………………… 84 4.4.3. The Dream and Sexual Connotations …………………………… 86 4.4.4. The Play within the Play …………………………………………. 91 4.4.5. Stage Design …………………………………………………….. 92 4.4.6. Costumes ………………………………………………………… 93 4.4.7. Language ………………………………………………………… 95 4.4.8. Characters ………………………………………………………… 97 4.5. Résumé in Reviews …………………………………………….… 97 IV 4.6. Show Reports …………………………………………………….. 104 4.6.1. General Notes …………………………………………………….. 104 4.6.2. The 2002 Show Reports …………………………………………. 104 4.7. General Account of A Midsummer Night’s Dream at Shakespeare’s Globe – Comparison and Contrast ……………...... 109 5. ANALYSIS II ………………………………………………………….. 110 5.1. The Winter’s Tale …………………………………………...…… 110 5.2. The Three Productions …………………………………………… 110 5.2.1. The Winter’s Tale 1997 ………………………………………….. 110 5.2.2. The Winter’s Tale 2005 ………………………………………….. 111 5.2.3. The Winter’s Tale on Tour 2008 ………………………………… 111 5.3. Critical Reception – Analysis of Reviews ………………………. 111 5.4. Prominent Themes ……………………………………………….. 112 5.4.1. Representation of the Globe in Press Reviews ….……………….. 112 5.4.2. Nostalgia for the Elizabethan Age …………..………………….. 115 5.4.3. First Official Globe Season ………………………………………. 116 5.4.4. Stage and Stage Design ………………………………………….. 118 5.4.5. Actor-Audience Relationship ……………………………………. 118 5.4.6. Groundlings and the Importance of the Yard ……………………. 119 5.4.7. Authenticity ………………………………………………………. 120 5.4.8. Mark Rylance’s Farewell Season…………...…………………….. 121 5.4.9. Costumes within the Framework of Original Practice.. ………….. 122 5.4.10. Directors and the Reception of their Artistic Approach …………. 123 5.4.11. Language ………………………………………………………… 126 5.4.12. Characters …………………………………………………………127 5.4.13. The Coming Alive of the Statue …………………………………. 128 V 5.5. Résumé in Reviews ………………………………………………. 129 5.6. Show Reports ……..……………………………………………… 133 5.6.1. The 1997 Show Reports ……….…………………………………. 133 5.6.2. The 2005 Show Reports …………………………………………. 136 5.7. General Account of The Winter’s Tale at Shakespeare’s Globe – Comparison and Contrast …………………………………..…….. 139 6. CONCLUSION ………………………………………………………… 141 7. BIBLIOGRAPHY ……………………………………………………… 145 7.1. Primary Sources ………………………………………………….. 145 7.2. Secondary Sources ……………………………………………….. 145 7.2.1. Books …………………………………………………………….. 145 7.2.2. Show Reports and Front of House Show Reports……………….... 146 7.2.3. Press Cuttings and Newspaper Articles ………………………….. 147 8. APPENDIX – Concise Selection ………………………………………. 157 8.1. Number of Calls – Graphs – Examples ………………………….. 158 8.2. Capacity Utilisation – Examples …………………………………. 162 9. INDEX……….………………………………………………………..… 173 10. ABSTRACT…….………………………………………………………175 10.1. English Version “Shakespeare’s Globe: A Tripartite Analysis of a Cultural Phenomenon: Theatre – Audience – Press”……………………………………………… 175 VI 10.2. German Version “Shakespeare’s Globe: Analyse der Trias eines Kulturellen Phänomens: Theater – Publikum – Presse”…………………………………………….. 176 11. CURRICULUM VITAE……………………………………………… 178 VII O, for a muse of fire, that would ascend The brightest heaven of invention, A kingdom for a stage, princes to act And monarchs to behold the swelling scene! […] But pardon, gentles all, The flat unraisèd spirits that hath dared On this unworthy scaffold to bring forth So great an object. Can this cockpit hold The vasty fields of France? Or may we cram Within this wooden O, the very casques That did affright the air at Agincourt? O, pardon! Since a crooked figure may Attest in little place a million, And let us ciphers to this great accompt, On your imaginary forces work. (The Life of Henry the Fifth ; Prologue) 1 Foreword The aim of this diploma thesis is to provide insights into Shakespeare’s Globe which are able to reflect action onstage as well as offstage by presenting regulations, policies and the distinctive characteristics of this theatre. The core of my interest in this topic is to investigate the Globe phenomenon on a tripartite level with regard to the modern Globe theatre, the audience of the Globe, especially the factors that contribute to a unique actor-audience relationship, and the reception of Shakespeare’s Globe by the press, realised by a thorough investigation of two plays in numerous productions. Thus the disclosure of this phenomenon will be achieved by a meticulous examination of these three elements. I am grateful for having had the possibility to go to London within the framework of ERASMUS. Therefore, I would like to thank everybody, in particular Monika Wittmann and the rest of the admission committee, who believed in me so that I received this scholarship grant. I wish to acknowledge special thanks to the support by Victoria Northwood, Celia Gilbert, Jordan, Sylvie, basically all Globe people who supported me, especially Patrick Spottiswoode. Above all I would like to acknowledge the generosity, patience, support, influence and expertise of Univ.-Prof. Dr. Werner Huber, without whom this thesis would have remained an idea. I am immensely grateful to him. Last, but definitely not least, I am deeply grateful to the support, motivation, patience and most of all love of my beloved family and friends (they know who they are…). for my loved ones 2 I 1. Introduction This thesis is dedicated to all theatre lovers as it intends to unveil myths that occur offstage in all respects that theatregoers can normally only imagine. Here they will be able to explore insights into in-house business in all respects. However, before examining the way in which the Globe theatre is organised it is necessary to raise the awareness of the reader concerning the long and winding history of the origins of Shakespeare’s Globe nowadays. Only by knowing about the achievement of Sam Wanamaker is it possible to understand the realisation and impact of the Globe phenomenon, which forms the core of this work. Only then the cultural significance of this extraordinary theatre in the centre of London can be assessed as it should be done. After a variegated introduction, the first chapters in Part II deal with the Globe phenomenon, two prominent achievements of this theatre, namely visiting productions at the Globe and Shakespeare’s Globe on tour, and there will be a look into Shakespeare’s Globe backstage. In chapter 3 the audience is investigated as a further member of the cast, which will be accomplished with the help of three major aspects: firstly, there will be a close look
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