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Globe audiences : spectatorship and reconstruction at Shakespeare's GlobeWoods, Penelope January 2012 (has links)
This thesis uses evidence gathered from conversations with audiences carried out before and after performances at Shakespeare’s Globe 2009-10, and contextualized through interviews with performers and creatives, archival data and critical scholarship to establish new understandings of current spectatorship at the Globe Theatre. This exploratory and inductive research into current audiences at the reconstructed Globe establishes new areas of inquiry for both current and early modern audience research. In cultural terms the position of Shakespeare's Globe is contested, it is read and used (sometimes simultaneously) by audiences as: theatre, tourist site, reconstruction and experiment. In academic terms the reconstruction is also contested, for its capacity to uncover new insights into early modern performance and reception or not. The significance of the physical conditions of performance and reception at the Globe, being a shared-lighting performance space, almost in-the-round, open-air and seasonal, are made apparent through reconstruction. These material and cultural conditions combine to produce a porous and contingent site of interaction between performer, building, weather, play and audience. These conditions alter and subvert current norms of audience passivity and quiescence today and illuminate new areas of consideration in early modern audience research. The four chapters of this thesis use four Shakespeare’s Globe productions as case studies: Chapter 1 draws on Troilus and Cressida (dir. Dunster, 2009) to consider issues of history and space for audiences; Chapter 2 considers Romeo and Juliet (dir. Dromgoole, 2009) and the place of audience work in performance; Chapter 3 takes Macbeth (dir. Bailey, 2010) to examine the production of illusion and audience affect, and Chapter 4 employs The Frontline (dir. Dunster, 2009) in a consideration of community-formation amongst audience. Themes of intimacy, hospitality, antagonism, the face-to-face encounter and laughter comprise sites of sustained critical concern with current spectatorship throughout the thesis. These areas receive some consideration in relationship to evidence of early modern spectatorship from plays and other primary sources.
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A cenografia no palco de Skakespeare / A cenografia no palco de SkakespeareFreitas, Juliana Pedreira de 27 April 2009 (has links)
O teatro não pode ser traduzido apenas como um texto literário, ele é a junção da obra dramatúrgica com tudo aquilo que pode ser colocado sobre o palco. Partindo desse ponto de vista, ao entendermos como eram os cenários de Shakespeare na sua origem, melhor interpretaríamos o real significado de sua obra, facilitando assim a sua compreensão e gerando mais uma ferramenta de trabalho para que possamos recriar seus textos. Acreditando nisso, baseamos este estudo nos elementos práticos inseridos na realização teatral do século XVI e XVII na Inglaterra. Passamos por uma breve concepção histórica da época, visto que o teatro nunca deixa de ser um espelho do que acontece na realidade do cotidiano; pela história do teatro inglês para entendermos sua evolução, culminando na grande era de ouro, no caso o teatro elizabethano; fomos para os princípios práticos primeiramente destrinchando o edifício teatral elizabethano na sua concepção de semi-arena e nos seus recursos técnicos e posteriormente enfatizando o Globe Theatre, teatro do grande dramaturgo em questão; e finalmente tentamos elaborar uma idéia do que teria sido a cenografia no palco de Shakespeare. / The theater cannot only be translated as a literary text, it is the joining of the dramatic work with everything that can placed on the stage. Leaving from this point of view, while understanding how the sceneries of Shakespeare were in its origin, better we would interpret the meant reality of his work, if we made easy so his understanding and if we produced one more tool of work so that we can recreate his texts. Believing in that, we base this study on the practical elements inserted in the theatrical realization of the century XVI and XVII in England. We pass for one brief historical conception of the time, since the theater never stops being a mirror of what it happens in fact of the daily life; for the history of the English theater to understand its evolution, culminating in the golden age, in this case the Elizabethan theater; we were for the practical beginnings firstly when is unravelling the Elizabethan theatrical building in its conception of arena and in its technical resources and after when there is emphasizing the Globe Theatre, theater of the great playwright in question; and finally we try to elaborate an idea of what it would have been the set design in the stage of Shakespeare.
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A cenografia no palco de Skakespeare / A cenografia no palco de SkakespeareJuliana Pedreira de Freitas 27 April 2009 (has links)
O teatro não pode ser traduzido apenas como um texto literário, ele é a junção da obra dramatúrgica com tudo aquilo que pode ser colocado sobre o palco. Partindo desse ponto de vista, ao entendermos como eram os cenários de Shakespeare na sua origem, melhor interpretaríamos o real significado de sua obra, facilitando assim a sua compreensão e gerando mais uma ferramenta de trabalho para que possamos recriar seus textos. Acreditando nisso, baseamos este estudo nos elementos práticos inseridos na realização teatral do século XVI e XVII na Inglaterra. Passamos por uma breve concepção histórica da época, visto que o teatro nunca deixa de ser um espelho do que acontece na realidade do cotidiano; pela história do teatro inglês para entendermos sua evolução, culminando na grande era de ouro, no caso o teatro elizabethano; fomos para os princípios práticos primeiramente destrinchando o edifício teatral elizabethano na sua concepção de semi-arena e nos seus recursos técnicos e posteriormente enfatizando o Globe Theatre, teatro do grande dramaturgo em questão; e finalmente tentamos elaborar uma idéia do que teria sido a cenografia no palco de Shakespeare. / The theater cannot only be translated as a literary text, it is the joining of the dramatic work with everything that can placed on the stage. Leaving from this point of view, while understanding how the sceneries of Shakespeare were in its origin, better we would interpret the meant reality of his work, if we made easy so his understanding and if we produced one more tool of work so that we can recreate his texts. Believing in that, we base this study on the practical elements inserted in the theatrical realization of the century XVI and XVII in England. We pass for one brief historical conception of the time, since the theater never stops being a mirror of what it happens in fact of the daily life; for the history of the English theater to understand its evolution, culminating in the golden age, in this case the Elizabethan theater; we were for the practical beginnings firstly when is unravelling the Elizabethan theatrical building in its conception of arena and in its technical resources and after when there is emphasizing the Globe Theatre, theater of the great playwright in question; and finally we try to elaborate an idea of what it would have been the set design in the stage of Shakespeare.
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Elizabethan staging in the twentieth century theatrical practice and cultural context /Falocco, Joe. January 1900 (has links) (PDF)
Thesis (Ph. D.)--University of North Carolina at Greensboro, 2006. / Title from PDF title page screen. Advisor: Russ McDonald; submitted to the Dept. of English. Includes bibliographical references (p. 394-433).
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O filho do bardo: um estudo de caso do Shakespeare’s Globe TheatreAraújo, Bianca Cruz de 29 March 2016 (has links)
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Este trabalho é um estudo de caso do Shakespeare’s Globe Theatre e tem como
objetivo investigar a gestão do teatro com enfoque nas estratégias utilizadas para
captar e manter seu público, responsável por gerar a maior parte da receita
arrecadada pela organização artística. Também é apresentado o processo de
reconstrução do edifício, sob a liderança do estadunidense Sam Wanamaker, e os
desafios encontrados pelos gestores para construir o prédio que viria a ser a réplica
mais próxima ao teatro original, erguido no século XVI por William Shakespeare e
seus colegas. Para tanto, o trabalho foi realizado através de pesquisa de campo e
apoiado nos referenciais teóricos de autores como Phillip Kotler, Joanne Scheff,
Bonita Kolb, dentre outros. Embora as ações desenvolvidas pelo teatro sejam
aplicadas em um contexto político, social e econômico específico, podem ser
adaptadas e aproveitadas em outras localidades e por outros gestores interessados
em repensar a forma com a qual lidam com seus públicos e comercializam seus
produtos artísticos. A abordagem desta pesquisa concentra-se na gestão para o
teatro e pode colaborar com os estudos voltados para este campo, ainda pouco
explorado por pesquisadores interessados nas artes. / ABSTRACT
This paper is a case study of Shakespeare's Globe Theatre, and it aims to
investigate the theatre management model focused on the strategies used to build
and keep their audience, which are responsible for generating the most part of the
revenue collected by that arts organisation. The paper also presents the theatre’s
building process, under the leadership of the american Sam Wanamaker, and the
challenges faced by the theatre managers to build the space that would be the most
colser replica to the original theatre built in the sixteenth century by William
Shakespeare and his colleagues . For that, the study was conducted through a field
research and it was supported by the theoretical references of authors such as Philip
Kotler , Joanne Scheff , Bonita Kolb and others. Although the actions developed by
the theater have being applied in a specific political, social and economic context ,
they can be adapted and used in other locations and by other managers interested in
rethinking the way they deal with their public and market their artistic products. The
research approach focuses on theatre management and can collaborate with studies
for this field, which is yet little explored by researchers interested in the arts.
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On hallowed ground the significance of geographic location and architectural space in the indenties [sic] of the Royal Shakespeare Company and Shakespeare's Globe /Ritter, Christina. January 2007 (has links)
Thesis (Ph. D.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 205-212).
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From la Carpa to the Classroom: The Chicano Theatre Movement and Actor Training in the United StatesSloan, Dennis 14 April 2020 (has links)
No description available.
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The dangerous edge of things : John Webster's Bosola in context & performanceBuckingham, John F. January 2011 (has links)
This thesis argues that there is an enigma at the heart of Webster's The Duchess of Malfi; a disjunction between the critical history of the play and its reception in performance. Historical disquiet about the status of the play among academics and cultural commentators has not prevented its popularity with audiences. It has, however, affected some of the staging decisions made by theatre companies mounting productions. Allied to other practical factors, these have impacted significantly – and occasionally disastrously – upon performances. It is argued that Webster conceived the play as a meditation on degree and, in aiming to draw out the maximum relevance from the social satire, deliberately created the multi-faceted performative role of Bosola to work his audience in a complex and subversive manner. The role's purpose was determined in response to the structural discontinuity imposed upon the play by the physical realities of staging within the Blackfriars' auditorium. But Webster also needed an agent to serve the plot's development and, in creating the role he also invented a character, developed way beyond the material of his sources. This character proved as trapped as any other in the play by the consequences of his own moral choices. Hovering between role and character, Webster's creation remains liminally poised on ‘the dangerous edge of things.' Part One explores the contexts in which Webster created one of the most ambiguous figures in early modern drama - subverting stock malcontent, villain and revenger - and speculates on the importance of the actor, John Lowin in its genesis. It includes a subsequent performance history of the role. Part Two presents the detailed analysis of a range of professional performances from the past four decades, attempting to demonstrate how the meaning of the play has been altered by decisions made regarding the part of Bosola.
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