"The brothers Cuthbert and Richard Burbage constructed the theater in 1599 from the timbers of London's first playhouse, called The Theatre. (Seidel 396)"
The two brothers constructed the theater in 1599 it was only made of timber. It was also London's first play house.
"Goffman’s 1959 idea of “front” and “back” in tourism. Goffman wrote of this social division in tourism, which identifies the “front” as suitable for guests, while the “back” remains exclusively for the performer, who navigates between the two (Goffman 144–45 in MacCannell “Staged Authenticity”). In this way, the native secrets are kept from the tourist spectator, who is the purveyor of the cultural performance that takes place in the “front” place, which is suitable socially for their presence."(seidal 412)
They had the idea to make the front of the theater open for the people watching and the back was for the performers.
"that there are a great number of contemporary theatres attempting to “perform” some notion of “authenticity”, there is, perhaps, no other reconstruction of an Elizabethan theatre that comes closer to achieving this paradigm than Sam Wanamaker’s vision of Shakespeare’s Globe as it stands today on the Bankside in Southwark."(Valeria Claymen 438)
The theater burnt down in 1613 but it was rebuilt and there are plays being performed there.
The globe theater!
"early open-air English theater in London. Most of the great English playwright William Shakespeare's plays were first presented at the Globe. The brothers Cuthbert and Richard Burbage constructed the theater in 1599 from the timbers of London's first playhouse, called The Theatre. They erected the Globe in the area known as the Bank side on the south side of the River Thames in the suburb of Southwark. Shakespeare owned a modest percentage of the theater and its operations." (seidal 476)
The brothers built the house for shakespear so he could perform his plays there. The theater was built in the suburb of Southwark.
"Little is known about the Globe's design except what can be learned from maps and evidence from the plays presented there. The Globe was round or polygonal on the outside and probably round on the inside. The theater may have held as many as 3,000 spectators. Its stage occupied the open-air space, with a pit in front for standing viewers. The stage was surrounded by several levels of seating. In 1613, the Globe burned down. It was rebuilt on the same foundation and reopened in 1614. The Globe was shut down in 1642 and torn down in 1644. A reconstruction of the theater was completed 200 yards (183 meters) from the original site in 1996, and it officially opened in 1997." (seidal 456)
Not much is known about the globe theater. Assumptions have been made that it was as well round on the inside, it may have held about 3000 spectators and the stage occupied an open air space.
"Of course, Shakespeare’s Globe is not solely a site for tourism; along with its function as an education and research center and an exhibition gallery, it is a site for contemporary performance. The site orchestrates its performance of authenticity even for those non-tourist theatergoers who attend for the exclusive purpose of experiencing the cultural commodity offered on stage. The dialogical narratives of authenticity speak both to the native as well as to the tourist and this narrative contributes to the site’s success. Sam Wanamaker was well aware of the site’s dependency on the tourist industry, although he viewed the elements of popular entertainment and tourism as mutually compatible." (Valeria clayman 427)
The globe theater isn't only a place for entertainment. It is also used for educational reasons and it is as well a research center. It is also a gallery.
"90% of the productions have altered the interior of the theater, yet as Egan has illuminated, those productions are experienced inevitably through the context of the site’s performance of authenticity. Cohen’s and Wang’s theories remind us that authentic experiences can be associated with inauthentic objects, and that non-specialist spectators can read that which can be seen as inauthentic to experts as authentic."(Lander jess 14-17)
They are improving there shows as the years go by. they also added scripts that people can follow. They sometimes use props and they sometimes don't.
"Mark Rylance’s decade-long tenure spans from the workshop season through to the commercially successful enterprise that introduced a variety of performance styles. The investigation of “Original Practices” is arguably most relevant to the examination of “authenticity” in performance, yet of the 15 productions that aim to replicate the material practices of early modern playmaking, roughly 50% of those productions featured women performers, which was not a material practice at the time Shakespeare’s company was in operation."(Lander jess 17-19)
They have different types of styles that they perform and that they practice. The one that is most relevant is the "Original Practices.
During the 1800’s, admiration for Shakespeare grew so intense that it resulted in a totally uncritical attitude toward the man and his works. Some people so admired Shakespeare’s plays that they refused to believe an actor from Stratford-upon-Avon could have written them. Shakespeare’s commonplace country background did not fit their image of the genius who wrote the plays. These people, called anti-Stratfordians, proposed several other writers as the author of Shakespeare’s works.(seidal 489)
People couldnt take the fact that he might not have written all of his plays. Shakespeare had a rude attitude toward the man and his work.
Sources! or work sited!
Anderson, Robert. “Shakespear and His Theater: A Perfect Match.” Holt Literature & Language Arts: Mastering the California Standards: Reading, Writing, Listening, Speaking, by G. Kylene Beers et al., Austin, Holt, Rinehart & Winston, 2003, pp. 778-80.
“William Shakespeare’s Life: A Genius From Stratford.” Holt Literature & Language Arts: Mastering the California Standards: Reading, Writing, Listening, Speaking, by G. Kylene Beers et al., Austin, Holt, Rinehart & Winston, 2003, pp. 776-77.
Lander, Jesse M. “Shakespeare, William.” World Book Advanced. World Book, 2016. Web. 12 Dec. 2016.
Pye, Valerie Clayman. “Shakespeare’s Globe: Theatre Architecture And The Performance Of Authenticity.” Shakespeare (1745-0918) 10.4 (2014): 411-427. Literary Reference Center. Web. 12 Dec. 2016.
Seidel, Michael. “Globe Theatre.” World Book Advanced. World Book, 2016. Web. 17 Nov. 2016.