This thesis analyses and contextualises the performances of Shakespearean and other plays at the reconstructed Globe theatre in London between 1996 and 2000. It contends that these performances raise compelling issues, both for dramatic production and in relation to broader social and cultural concerns because of the Globe's founding commitment to authenticity, which has been expressed most obviously by the meticulous reconstruction of the new Globe building, and through reconstructed authentic performance practices. Further, it is the argument of this thesis that this commitment to authenticity expresses urgent concerns of the new Globe's contemporary placing and role. Thus, the first three chapters of the thesis refer to the actual performances only briefly as various contexts of authenticity are explored. In these chapters the Globe is positioned within debates about historical, personal and individual authenticity, within the discourse of Shakespeare's supposed universalism, and within the concept of 'authentic performance'. Each of these contextual enquiries is tied to a central concern of this thesis, the articulation and constitution of identity and subjectivity. The focal points of the second half of the thesis are the Globe productions and performances themselves. The first of these chapters concentrates on productions of reconstructed authenticity and explores some of the ideological positions encoded in their representations. The remaining two chapters analyse productions that could be described as non-authentic; productions of non-Shakespeare plays, and visiting productions from other countries. An argument is developed (one which is anticipated by the theoretical underpinning of the first half of the thesis) that, in general, the 'authentic' productions are more likely to represent conservative ideologies and to perpetuate hegemonic identity positions. This thesis contributes to the emerging field of studies of Shakespeare in performance by applying a complex web of interdisciplinary perspectives to its consideration of new Globe theatre practice. It analyses many of the productions staged at the new Globe between 1996 and 2000, and evaluates some of the key critical debates as they relate to authentic performance practice.

The present discussion is based on my performance research with Elastic Theatre (originally named Vocal Motions and also known as Vocal Motions Elastic Theatre), a company that I founded and have directed since 2001. A specific focus is placed on the body of work produced between 2005 and 2011, which comprises six performance outputs: Ophelia’s Song (2005-2006), Medea Made Medea (2007), The Magdalene Mysteries (2008), Medousa (2009), The Passion of Saints Sergius and Bacchus (2009) and Baroccata/Baroque Box (2010-2011). These productions have been informed by an overriding ethos, which is presented and reflected upon in the following chapters. I refer to such ethos by using the term elasticity, which I define in the Introduction, contextualising this within the broader spectrum of contemporary tendencies in performance practices, with particular reference to the notion of 'post-dramatic theatre'. This concept of elasticity is presented in relation to three aspects of my productions: respectively, the combination of performance disciplines (Chapter 1), the dramaturgical approach (Chapter 2) and the staging choices made (Chapter 3). Across these chapters, I provide a contextual overview of the aspect treated, a discussion of my methodology in relation to this, and a reflection on my findings, referring to the concept of 'liminality'. My Conclusion draws my reflections together, emphasising the original contribution that my work has represented in the field of contemporary performance. Each of my outputs is documented in the Appendices, through written, photographic and video material. The Appendices also include a chronological overview of the productions discussed, a summary/glossary of my methodological strategies and a brief presentation of the company’s history. Additional details can be found on the website: http://www.elastictheatre.com.

This study is based on plays known to have been produced under the auspices of the Chamberlain's Men (after 19th May 1603 the King's Men) while they were giving their public London performances exclusively at the first Globe theatre. It is limited, therefore, to the period 1599-1608. This study examines the appearance and physical conditions of the theatre and how it would have functioned as a playing space.