Professional Documents
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rooted affinity with the learned occult philosophy and its religious
events such as last years Globe--to--Globe, this years world tour of Hamlet and the
clear now, in its seventeenth year, the venue is now leaving its initial experimental
phase and entering a more self--confident maturity. However, despite this, there is
still a tendency for some academics and practitioners to be dismissive of the new
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Globe as a flawed reconstruction and producer of museum theatre , as if that were
its only raison de tre. This is an echo of the dissenting voices that were much more
commonly heard around the time of the new Globes construction, the fear being
fear, as this aspect appealed to a portion of the public who were keen to embrace the
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A recent Q and A session with actors from Propeller Theatre Company, which
did not refer directly to The Globe, but pointedly remarked that to perform in
Elizabethan costume is no more than museum theatre.
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which they were turned away). As Siobhan Keenan and Peter Davidson point out,
this was in direct contradiction to the stated aims of those who have worked for
These original aims were to build a space that would recreate as close as
Mark Rylance, first artistic director of the new Globe, called it the most
discovering the original cello, or the original violin and saying Mozart wrote for
this instrumentso who will take up the challenge to try and play his music on
materials, craft (Carson 2008: 104), the architects and creative team behind the
new Globe came as close as they could, considering the limits of the information
laboratory for the player and the theatrical historian (Mulryne 1997: 147). The
architect in charge of the project, Theo Crosby, shared Sam (Wanamaker)s vision
of the new Globe taking its place within a revitalised Southwark, relating to the
community who live beside it, offering educational opportunities to all who work
Renaissance culture in filling in the research blanks, did the team behind the new
Globe in fact create a site worthy of pilgrimage not just of Bardolatry but a true
Mysteries and one of the main features of about the architecture of the
dramatic setting was the presenceof two great pillars. The same were
in other Elizabethan theatres, and today are replicated in the new Globe
debate. Whether or not it is the case, as Peter Dawkins implies above, that the
pillars in the original Globe alluded to the pillars of the ancient mystery schools
construction of the new Globe, and that since Peter Dawkins was involved in the
decision over the positioning and size of the pillars, (through Mark Rylance), the
Rylance met Peter Dawkins in 1988 whilst playing Hamlet and Romeo for the
RSC and became very interested in the alchemical symbolism that Dawkins
revealed to him in the texts, which he felt enabled him to access a deeper level of
connection with the characters. Rylance and Dawkins have worked closely
authorship debate. They believe that a group of writers led by Francis Bacon
temple.
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construction of the Universe and are variously known as the pillars of Hercules,
Temple) or Mars and Venus, the latter by which they are referred to at
Shakespeares Globe. They are a major symbol of the principles of the Kabbalah,
philosophy and is often alluded to in Shakespeares work. That the new Globe
embraced this content, at least in the days of Rylance, can be seen even in their
brief website promotional blurbs, such as this extract from the page for their
Christian, Judaic and Hermetic traditions of 16th century Italy and England and
weighs them in the balance. While it seems possible and even likely that the
pillars of the first and second Globe Theatres were there simply for the practical
purpose of holding up the heavens, there can be little doubt that Shakespeares
Globe of the modern day has embraced the potential of their sacred symbolism.
reasonable body of evidence is the painted and gilded heavens above the stage.
In a far cry from the fibreglass allusions of Disney World, these were
painstakingly created using authentic historical methods and materials and are
breathtakingly beautiful. The Sun and the Moon are represented, as is the full
fire painted over a hatch from which Gods or other (presumably heavenly)
beings can descend. The latter is again a reference to the Kabbalah, as on the
Tree of Life there are ten sephiroth or spheres representing the descent of
spirit into matter and manifestation. The three highest spheres on the tree are
known as the Supernal Triad and are thought to be the source of all spirit and
Not only does this celestial canopy feed the aesthetic eye of the beholder,
but it also provides a tool for the actor, as they can directly address the heavenly
bodies and forces, as is often required in Shakespeares texts. The painted image
the heavens, on the wall above the balcony, may be seen anthropomorphised
representations of the classical seven planets. From left to right these are Sol,
Luna, Mars, Mercury, Jupiter, Venus and Saturn. The seven planets not only
relate to the seven days of the week, but also directly relate to the seven
remaining sephiroth of the Kabbalah. Cleverly, they have also been rendered to
Shakespeares As You Like It, which makes the microcosmic parallel blatant: All
the Worlds a stage. (As You Like It, Act II Scene vii)
Beneath the planets, very prominently featured on the walls either side of
Apollo and Hermes. This represents the next level towards manifestation of the
physical plane, (the stage itself) of the heavenly powers. Apollo and
creative souls. Between these two figures may be found carvings of the muses,
Hermes), images of the Gods can act as conduits for their powers and abilities, so
when they are addressed directly in the course of a play this invokes their
energies and adds an extra dimension to the emotional and spiritual experience
of the audience.
this case the actors, but in order to provide the people with a transcendent
experience or communion with the divine. This was certainly the intent of
Rylance from the offset, who in the early days of his office as Artistic Director
said: I hope we can provide theatrical experiences that reflect and enrich human
nature in its many physical, psychological, spiritual and divine forms. (Mulryne
1997:175)
The open roof of Shakespeares Globe unites actor and audience under the
same sky and surrounds them with the same light. Though an allowance is made
for evening performances through the use of electric lighting, it is not permitted
to use it to create stage effects, but rather to maintain a universal lighting. This
enable the actors to engage on a dynamic level with the audience, (and vice--
versa), which is little--known in modern theatre practice. Actor Jim Bywater, one
of the pioneer players of the Globes first production observed that, The Globe
audience shares the actors consciousness (Kiernan 1999: 11) When the
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audience can become the conscience or part of the soul of the characters they see
Mark Rylances first involvement with the reconstruction of the Globe was
when he met with Sam Wanamaker to arrange performing his touring production
of The Tempest on the foundations of the theatre. He had been inspired by the
teachings of Peter Dawkins to bring together a group of seven actors, (for the
order to balance the energies and bring fertility to the land. When it came to
Globes foundations as they were the same proportions as the Rollright Stones
only agreed to the performance but proceeded to make Rylance part of the
Artistic Directorate who would have input on the construction. Since at the point
of planning the new Globe little was known about the original other than the
famous DeWitt drawing and what archaeological remains had been uncovered,
they were inspired by renaissance cosmology and the works of Francis Yates to
Though it was later discovered that the original Globe was built with the more
notes that, Despite the collapse of Yates theory, the classical placing of a square
within a circle was found a helpful key to reconstruction (Wiles 2003: 193)
It is not only the proportions and the sacred geometry of the space that
aligned with the rising sun at Midsummer, just as Stonehenge, the Rollright
Stones, and other ancient places of apparent worship are. Of this point, scholar
Andrew Gurr notes that 'While there is no evidence for any particular
it.'(http://www.edwardfox.co.uk/rylance.html)
Both in the first Globe and in the present third Globe, music was
placed between the world of the Gods above, and the earthly stage of
mankind, below. Music is, thus, not only heard but seen as the expression of
architecture is, one of the effects of its structure according to ancient laws of
resonates not only through the structure but through each body in the space,
actor and audience alike. This is a physical vibration created by the voices of the
actors and the presence of live musicians in the gallery-- another feature of the
new Globe which more recent research shows to have been unlikely at the
original-- which has the potential to move emotions in a way which transcends
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sites like Stonehenge, which have been found to have unique acoustic qualities
and inherent resonance that are unlikely to be accidental. Like much of the
the new Globes construction to align the theatre with mystical energies, we have
only to visit the exhibition centre in the area underneath the stage, known as the
Underglobe, with a little esoteric learning behind us. Not only is there a realistic
representation of the Tree of Life, but the ceiling is emblazoned with numerous
ancient muses.
Also in the chthonian depths beneath the jewel--like Globe stage, in the area
hidden a cigar box left in position by Rylance when he first became Artistic Director.
This contains offerings for the spirits of place, the remains of a shamanic ritual that
Rylance conducts with casts of each production, (which I have been privileged to
participate in), in order to maintain their good will. Although the current Artistic
Director, Dominic Dromgoole, does not share Rylances mystical beliefs or practices,
It is not only the structure and decoration of the building which creates
the temple, but also the souls which inhabit it. Rylance brought together a team
of highly skilled and deeply spiritual people to work with the actors in the
theatre, helping them to adjust to its particular demands. His original Master of
Voice was Stewart Pearce, who teaches that we all have a signature note which
is our soul and bodys personal resonance. Though he is no longer resident, some
of his practices are still passed on, at least by Philip Bird who works with student
Still very much active with the Globe, although now primarily working
with the actors in the new Sam Wanamaker playhouse, is Alexander Technique
specialist Glynn Macdonald. She has been Master of Movement since the birth of
the new Globe and teaches actors how to embody archetypal and elemental
powers. Though she claims Sufi origins for these practices, they strongly reflect
depth, and when all these parts have also their place in the total symmetry
From the seeds of one mans vision grew not a tourist--milking machine,
nor even a mere museum piece, but a living breathing temple and cultural icon in
its own right, with practices drawn from traditional principles from which
theatre draws its ancient roots. Though there can be little doubt that some of this
Dromgoole, the Globes sacred nature is inherent in its very structure and
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foundations, both literal and conceptual. The works of Shakespeare, since they
deal with the nature and spiritual journey of humanity, are as relevant today as
they ever were. However, if we purely focus on the contemporary relevance and
modern and the early--modern world. Whereas it remains to be seen what future
leadership will bring, there is more than idle Bardolatry that incites a sense of
Bibliography
University Press
Shakespeares Globe
Macmillan Press
Mulryne, J.R and Margaret Shewring (eds) 1997, Shakespeares Globe Rebuilt,
Orrell, John 1983, The Quest For Shakespeares Globe, Cambridge: Cambridge
University Press
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Wiles, David 2003, A Short History of the Western Performance Space, Cambridge:
Yates, Frances 1979, The Occult Philosophy in the Elizabethan Age, Oxford:
Routledge
Websites:
http://www.shakespearesglobe.com/education/discovery- -
August 1996)
http://eprints.hud.ac.uk/13248/1/TillSongs308--2422--1--PB.pdf
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