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Shakespeare's Globe Theatre is recognised worldwide as both a
monument to and significant producer of the dramatic art of
Shakespeare and his contemporaries. But it has established a
reputation too for commissioning innovative and distinctive new
plays that respond to the unique characteristics and identity of
the theatre. This is the first book to focus on the new drama
commissioned and produced at the Globe, to analyse how the specific
qualities of the venue have shaped those works and to assess the
influences of both past and present in the work staged. The author
argues that far from being simply a monument to the past, the
reconstructed theatre fosters creativity in the present, creativity
that must respond to the theatre's characteristic architecture, the
complex set of cultural references it carries and the heterogeneous
audience it attracts. Just like the reconstructed 'wooden O', the
Globe's new plays highlight the relevance of the past for the
present and give the spectators a prominent position. In examining
the score of new plays it has produced since 1995 the author
considers how they illuminate issues of staging, space, spectators,
identity and history - issues that are key to an understanding of
much contemporary theatre. Howard Brenton's In Extremis and Anne
Boleyn receive detailed consideration, as examples of richly
productive connection between the playwright's creativity and the
theatre's potential. For readers interested in new writing for the
stage and in the work of one of London's totemic theatre spaces,
New Playwriting at Shakespeare's Globe offers a fascinating study
of the fruitful influences of both past and present in today's
theatre.
Shakespeare's Globe Theatre is recognised worldwide as both a
monument to and significant producer of the dramatic art of
Shakespeare and his contemporaries. But it has established a
reputation too for commissioning innovative and distinctive new
plays that respond to the unique characteristics and identity of
the theatre. This is the first book to focus on the new drama
commissioned and produced at the Globe, to analyse how the specific
qualities of the venue have shaped those works and to assess the
influences of both past and present in the work staged. The author
argues that far from being simply a monument to the past, the
reconstructed theatre fosters creativity in the present, creativity
that must respond to the theatre's characteristic architecture, the
complex set of cultural references it carries and the heterogeneous
audience it attracts. Just like the reconstructed 'wooden O', the
Globe's new plays highlight the relevance of the past for the
present and give the spectators a prominent position. In examining
the score of new plays it has produced since 1995 the author
considers how they illuminate issues of staging, space, spectators,
identity and history - issues that are key to an understanding of
much contemporary theatre. Howard Brenton's In Extremis and Anne
Boleyn receive detailed consideration, as examples of richly
productive connection between the playwright's creativity and the
theatre's potential. For readers interested in new writing for the
stage and in the work of one of London's totemic theatre spaces,
New Playwriting at Shakespeare's Globe offers a fascinating study
of the fruitful influences of both past and present in today's
theatre.
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Nadine Gordimer
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R398
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