2004

The Shakespeare Conference: SHK 15.1698  Friday, 10 September 2004

[1]     From:   D Bloom <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Thursday, 9 Sep 2004 07:43:53 -0500
        Subj:   RE: SHK 15.1656 The Globes Audience in the Future

[2]     From:   Gabriel Egan <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Thursday, 9 Sep 2004 14:34:43 +0100
        Subj:   Re: SHK 15.1677 The Globes Audience in the Future

[3]     From:   John W. Kennedy <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Thursday, 09 Sep 2004 14:19:54 -0400
        Subj:   Re: SHK 15.1687 The Globes Audience in the Future

[4]     From:   Duncan Salkeld <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Thursday, 09 Sep 2004 20:48:07 +0100
        Subj:   RE: SHK 15.1677 The Globes Audience in the Future


[1]-----------------------------------------------------------------
From:           D Bloom <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Thursday, 9 Sep 2004 07:43:53 -0500
Subject: 15.1656 The Globes Audience in the Future
Comment:        RE: SHK 15.1656 The Globes Audience in the Future

I was contemplating a post in response to John Reed's expressed
preference for movies over stage drama, along the lines of -- "if you
don't understand an art form, leave it alone."

But then I came to the word "poeticistic."

Cheers,
don

[2]-------------------------------------------------------------
From:           Gabriel Egan <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Thursday, 9 Sep 2004 14:34:43 +0100
Subject: 15.1677 The Globes Audience in the Future
Comment:        Re: SHK 15.1677 The Globes Audience in the Future

Jonathan Hope writes

 >I know there is a lot of debate about the accuracy of the various
 >etchings of the Globe in situ, but none of them have the stage facing
 >the river, as it does at the new Globe.

It doesn't face the river, exactly, but is 48.25 degrees east of north,
which is very nearly the bearing on which the sun would have risen at
midsummer in Southwark. The Hollar sketch shows that Globe-2's stage had
this bearing, which is why the replica has it. Noticing the coincidence
in the Hollar sketch and pondering its significance, John Orrell
memorably observed that Clio is a tight-fisted muse.

Gabriel Egan

[3]-------------------------------------------------------------
From:           John W. Kennedy <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Thursday, 09 Sep 2004 14:19:54 -0400
Subject: 15.1687 The Globes Audience in the Future
Comment:        Re: SHK 15.1687 The Globes Audience in the Future

D Bloom <This email address is being protected from spambots. You need JavaScript enabled to view it.>

 >John W. Kennedy:
 >
 >"And let me add, as someone who has played on a Globe-like stage in the
 >summer, that if it faces south, the sun not only gets in the actors'
 >eyes, but has a tendency to broil them."
 >
 >I would say that (1) what with the high wattage of stage lights, actors
 >better get used to getting broiled or find a new line of work,

The two are not even remotely comparable.

[4]-------------------------------------------------------------
From:           Duncan Salkeld <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Thursday, 09 Sep 2004 20:48:07 +0100
Subject: 15.1677 The Globes Audience in the Future
Comment:        RE: SHK 15.1677 The Globes Audience in the Future

Peter Streete's contract for building the Fortune for Henslowe and
Edward Alleyn, dated 8 January 1599/1600, requires that the 'saide
Stadge to be in all other proporcons Contryved and fashioned like vnto
the Stadge of the the saide Plaie howse Called the Globe'.   It
stipulates that the Fortune shall have 'a shadow or cover over the saide
Stadge.'   It seems reasonable to infer that the stage was thus in
shadow for an afternoon performance, and that, happily, the new Globe
has been built the right way round.  'If we shadows have offended ...'

Duncan Salkeld

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