Book contents
- Shakespeare, Spectatorship and the Technologies of Performance
- Shakespeare, Spectatorship and the Technologies of Performance
- Copyright page
- Contents
- Figures
- Tables
- Acknowledgements
- How to Read This Book
- Introduction
- Part I Candlelight and Architecture at the Sam Wanamaker Playhouse
- Part II Digital Technologies and Early Modern Drama at the National Theatre and the RSC
- Part III ‘Invisible’ Technology and ‘Liveness’ in Digital Theatre Broadcasting
- Concluding Most Obscenely: Offstage Technophelias
- Bibliography
- Index
Part I - Candlelight and Architecture at the Sam Wanamaker Playhouse
Published online by Cambridge University Press: 10 April 2020
- Shakespeare, Spectatorship and the Technologies of Performance
- Shakespeare, Spectatorship and the Technologies of Performance
- Copyright page
- Contents
- Figures
- Tables
- Acknowledgements
- How to Read This Book
- Introduction
- Part I Candlelight and Architecture at the Sam Wanamaker Playhouse
- Part II Digital Technologies and Early Modern Drama at the National Theatre and the RSC
- Part III ‘Invisible’ Technology and ‘Liveness’ in Digital Theatre Broadcasting
- Concluding Most Obscenely: Offstage Technophelias
- Bibliography
- Index
Summary
When London’s newest theatre opened its doors in January 2014 with a production of The Duchess of Malfi, this must-see novelty in theatre architecture and performance technologies conspicuously smelt of new oak timber and beeswax. Lit by candles during performances and with an unusually small stage (15’ wide by 20’ deep) and an audience capacity of 340, the Sam Wanamaker Playhouse (SWP) at Shakespeare’s Globe promises an insight into the performance practices of the Jacobean elite. If it shares the Globe’s aim to show ‘how dynamically the past flows into the present and helps us to create the future’, this ‘reimagining of an archetypal Jacobean playhouse’ wears its mission with a difference.
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- Publisher: Cambridge University PressPrint publication year: 2020