Shakespeares Globe Rebuilt

The rebuilding of the Globe theatre (1599-1613) on London's Bankside, a few yards from the site of the playhouse in which many of Shakespeare's plays were first performed, must rank as one of the most imaginative enterprises of recent decades. It has aroused intense interest among scholars and the general public worldwide. This book offers a fully illustrated account of the research that has gone into the Globe reconstruction, drawing on the work of leading scholars, theatre people and craftsmen to provide an authoritative view of the twenty years of research and the hundreds of practical decisions entailed. Documents of the period are explored afresh; the techniques of timber-framed building and the decorative practices of Elizabethan craftsmen explained; and all of this reconciled with the requirements of the actors and restrictions of modern architectural design. The result is a book that will fascinate scholarly readers and laymen alike.

Describes the recent undertaking to rebuild the Globe theater in London and the intense research required for the search for the "real" Globe.

This book examines the conditions of the original performances in seventeenth-century indoor theatres.

The life of William Shakespeare, Britain's greatest dramatist, was inextricably linked with the history of London. Together, the great writer and the great city came of age and confronted triumph and tragedy. Triumph came when Shakespeare's company, the Chamberlain's Men, opened the Globe playhouse on Bankside in 1599, under the patronage of Queen Elizabeth I. Tragedy touched the lives of many of his contemporaries, from fellow playwright Christopher Marlowe to the disgraced Earl of Essex, while London struggled against the ever-present threat of riots, rebellions and outbreaks of plague. Globetakes its readers on a tour of London through Shakespeare's life and work. In fascinating detail, Catharine Arnold tells how acting came of age, how troupes of touring players were transformed from scruffy vagabonds into the finely-dressed 'strutters' of the Globe itself. We learn about James Burbage, founder of the original Theatre, in Shoreditch, who carried timbers across the Thames to build the Globe among the bear-gardens and brothels of Bankside. And of the terrible night in 1613 when the theatre caught fire during a performance of King Henry VIII. Rebuilt once more, the Globe continued to stand as a monument to Shakespeare's genius until 1642 when it was destroyed on the orders of Oliver Cromwell. And finally we learn how 300 years later, Shakespeare's Globe opened once more upon the Bankside, to great acclaim, rising like a phoenix from the flames. Arnold creates a vivid portrait of Shakespeare and his London from the bard's own plays and contemporary sources, combining a novelist's eye for detail with a historian's grasp of his unique contribution to the development of the English theatre. This is a portrait of Shakespeare, London, the man and the myth.

Only in the world of the theater can Nat Field find an escape from the tragedies that have shadowed his young life. So he is thrilled when he is chosen to join an American drama troupe traveling to London to perform A Midsummer Night's Dream in a new replica of the famous Globe theater. Shortly after arriving in England, Nat goes to bed ill and awakens transported back in time four hundred years -- to another London, and another production of A Midsummer Night's Dream. Amid the bustle and excitement of an Elizabethan theatrical production, Nat finds the warm, nurturing father figure missing from his life -- in none other than William Shakespeare himself. Does Nat have to remain trapped in the past forever, or give up the friendship he's so longed for in his own time?

Publisher description

"This Malevole is one of the most prodigious affections that ever conversed with nature: a man, or rather a monster, more discontent than Lucifer." The Malcontent is a striking example of the new satiric tone and moral seriousness in English comedy of the early 1600s. The play's vision of a fallen humanity driven by lust and ambition is created partly by its depiction of Machiavellian intrigue in the court of Genoa, and partly by the disaffected Malevole, the malcontent of the title, who is actually the deposed Duke Altofronto in disguise. Marston's tragi-comedy is full of reversals, surprises and moral transformations and offers a thin disguise for the Jacobean court and its vices. This new student edition contains a lengthy new Introduction with background on the author, date and sources, theme, critical interpretation and stage history.

'A spicy work of biographical conjecture ... It's also a rousing reminder of the countless creative women who have been written out of history or have had to fight relentlessly to make themselves heard.' EVENING STANDARD 'The great virtue of Lloyd Malcolm's speculative history lies in its passion and anger: it ends with a blazing address to the audience that is virtually a call to arms. It is throughout, however, a highly theatrical piece ... In rescuing Emilia from the shades, [the play] gives her dramatic life and polemical potency.' GUARDIAN The little we know of Emilia Bassano Lanier (1569 - 1645) is that she may have been the Dark Lady of Shakespeare's Sonnets, mistress of Lord Chamberlain, one of the first English female poets to be published, a mother, teacher who founded a school for women, and radical feminist with North African ancestry. Living at a time when women had such limited opportunities, Emilia Lanier is therefore a fascinating subject for this speculative history. In telling her story, Morgan Lloyd Malcolm represents the stories of women everywhere whose narratives have been written out of history. Originally commissioned for Shakespeare's Globe with an all-female cast, Emilia is published here as a Methuen Drama Student Edition with commentary and notes by Elizabeth Schafer, Professor of Drama at Royal Holloway, University of London, UK.