The Globe Theatre
I have decided to chose 'The Globe Theatre' as my place of study as the historical aspect of the building fascinates me. The Globe was built in 1599 on the South Bank of London's River Thames by Richard Burbage. The theatre looks like a doughnut from above, with a roof covering the seated area's that seated up to 3,000 speculators to watch a performance on the open air theatre. As a young write, Shakespeare was a shareholder who owned 12.5% of the theatre, and as his popularity increased so did his shares as he benefited financially.
The nature of The Globe has stayed close to the roots as a piece of working architecture that continues to run plays that would have historically. Through this they use aspects of they building they would have, such as the 3 flags that indicate the genre of performance, Red for 'historical' - Black for 'tragedy' - White for 'Comedy'.
The building has been built a total of 3 times. The original
time in 1599. The second after a fire in
1613 when the special effect when using a canon went wrong setting light to the
thatch roofing proceeding to take less than two hours to burn the entire building
down, it was rebuilt on the same spot in 1614. Ending 85 years of the theatre
use, the Puritans suppressed the stage plays during 1642 so by 1644 the theatre
was turned into tenement housing, in the 1980’s when the foundations of the
theatre were found, it was discovered that the suspected circular building was
in fact a polygon of 20 sides. It wasn’t until 1997 that the third and final
version of The Globe was faithful restored close to the original site in
Southwark and was built as ‘Shakespeare’s Globe Theatre’
To this day, the theatre provides performances for the
public audience, delving into history performing plays written by the historic
playwright Shakespeare himself. As it is a site with such an enriching history,
The Globe now offers tours to the public audience to give an insight into the
working theatre. The theatre also offers a variety of workshops from students
to teachers that look into the use of Shakespeare’s language and the classing
staging aspects of his performance techniques, as they believe the best way to
understand Shakespeare is to enjoy it. These can either be delivered to the
school by getting in touch with them, or can be held at the theatre itself.
Due to the vast amount of activities offered by the theatre,
there must be a variety of jobs included to maintain successfully support the
busy structure of The Globe.
Jobs
Within every theatre there are a variety of jobs whether it
is backstage, on stage, pre/post-production or administrative work. I’ve collected a short list of jobs that are
ongoing in the theatrical environment:
Sound and lighting
Covers these
lighting and sound used for a performance
Receptionist
Handles enquiry’s
for activities that go on throughout the theatre
Stage Crew
The team of people that handle the aspects of backstage, controlling props
and scene changes
Costume
Have an important job of styling the cast to replicate
the themes and historical context of the play
Actors
The portrayers of the script that will perform to the
public audience
Grips
Work on the construction of making secure platforms and decks
Set design
Design the objects
that will be used in the performance in order to give an authentic touch
Marketing/ Publications
and Press
Handle the promotion of the productions and the
theatre itself
Director
A person who gives their own artistic direction to work with the actors and mould
the play in to how they think it should be performed
Stewards
Members of the front of house team that are there for
the audiences purpose
Producer
Oversees all aspects of mountain a theatrical performance, usually initiates
the performance that will be done, deciding on the team they would like to work
with.
Playwright
The person who writes the plays that will be performed
Scenic designer
Creates the backdrops for the performances
Production manager
Is in charge of the technical crew
Technical Director
In charge of the technicians working around the theatre
Theatrical technician
Operates the technical equipment and systems in the performing arts
industry
Choreographer
A designer of movement, notably in dance
Makeup designer
Decides upon and applies the makeup for a theatrical production
Copy right director
Handles the legal elements to obtain a play that wants to be produced by a
theatrical company
ManagerTypically provide practical and organizational support to the director,
actors, designers, stage crew and technicians throughout the
production
Charge artist
Oversees all artist developments to make sure there is a continuity on the overall
visual appearance
Paint Crew
The artist that carry out the designs created by the designers once
approved
Wardrobe Supervisor
Responsible for supervising all wardrobe related activities during the
course of a theatrical run.
Stage Manager
Is in charge of the running efficiency of the stage crew
Front of House
Hold responsibility of dealing with the audiences enquiries before the
performance
Unionized Stagehands
A person who sets the stage, moves props, etc, in a theatrical production
abiding by union rules
Artistic director
The person with overall
responsibility for the selection and interpretation of the works performed by a
theatre, ballet, or opera company.
Managing director
Someone who controls resources and expenditures
Director of Special
Events
Is in control of the organisation of events that surround the theatre and
ongoing productions.
Dramaturg/Researchers
A literary editor on the staff of a theatre who liaises with authors and
edits texts. This often involves researching into the historical aspects of the
plays to create more accurate performances
Usher
A part of the stewarding team, a person who shows people to their seats
Ticketing Agent
Controls the distribution of ticketing sales.
It is important to remember that all the jobs within the
theatre are connected and no job is done alone. Meetings must be held between
large varieties of the jobs in order to discuss the progress and end product
desired. For example:
The set designer, scenic designer and costume designer would
all meet with the artistic director and the director in order to discuss everything
that is needed and what is desired for the overall look of the performance
before the scenic designer can return to the paint crew to give them their job.
There would then have to be frequent meetings between the paint crew, scenic designer
and artistic director in order to reassure they are on the right track.
The backstage crew, including the stage hands, stage manager
and stage crew would probably have to attend rehearsals of the performance
frequently in order to know the running order of the play and have an
understanding of what and who needs to be on stage when and where.
Dramaturgs and researchers will have to have meetings
pre-production in order to discuss the historical factors that may affect the
production and help deter what parts should be cut.
Throughout making the list, I highlighted the jobs that I am
personally interested in exploring further when considering ‘The Globe Theatre’.
Further Job
Exploration
Costume:
The Globe theatre hired their own resident costume designer
that oversees the production of the contents of the wardrobe, in the 2012 –
2013 season, the costume designer at The Globe was Emma Williams. For
this she was overseeing that production of all the costumes, enjoying the fact
that all her costumes were able to hit a distinct time period. Here is where
she may meet with dramaturgs/researchers in order to make sure she is creating
historically accurate items of clothing that will therefore enhance the
performance.
Costume designers must be aware of their budget, insuring
they know how much they can spend on certain fabrics. They would have to try spending
as little as possible for samples and prototypes that they may present to the
director before being approved to continue with their work, it is therefore
important to know the financial restrictions. Costumes may need to represent a
certain time period or suggest a certain characters traits, The Globe’s costumes
have often been said to have ‘vivid colours’ and ‘sumptuous materials’. Due to
time restrictions within The Globe theatre as their turn over to their next
productions are often very soon, the preparation time for the development of
costumes is often cut short, meaning that some more extravagant costumes are
not always accurate if not made specifically for an actor as they may have been
donated by wealthy patrons. Costumes for productions in The Globe such as ‘Julius
Caesar’ were often easier to make as the roman toga is easier to replicate
rather than those of an Elizabethan period.
Although there are no specific qualifications needed to
become a costume designer, experience a key. There is a degree in ‘Costume
Design’ available; a portfolio will also be required to show off the best
aspects of work created and the amount of experience in creating costumes. Key
Skills that directors and theatres may be looking for, especially in The Globe
theatre would be the artistic and creative flair where the attention to detail
regarding historical aspects is key.
Dramaturgs/Researchers:
These are the people that look into the historical aspects
that can affect the work of the performance. This work then is processed into archives
within The Globe ready to be used again. The Globe offers work experience for
people interested who are discovered in this aspect of developing a performance.
The work load is focused developing the library and archives
where they will look at a range of performance, historical and administrative
collections as well as working alongside a video digitisation project.
Projects they would be working on within the theatre would
be:
I. UPCOMING CRITICAL STUDIES
II. END OF SEASON INTERVIEWS
III. EARLY MODERN MUSIC RESEARCH
IV. GLOBE ON DEMAND
V. RETRO-CONVERSION PROJECT
VI. TRANSLATIONS DATABASE
Qualities needed for a position like this, is the ability to
write criticism, specifically considering aspects of historical and theatrical knowledge.
You are able to receive a degree in this specific area, but related qualifications
maybe in Literature, History or Theatre Studies.
Actors:
If we are looking at The Globe historically, due to social constructs
that were ongoing during that time period, only males were allowed to perform.
Early on actors were viewed badly, with misconceptions that they could not be
trusted, when purpose built theatres were introduced, such as The Globe, the
standing in which they help became higher and they were soon seen as the equivalent
of today’s acting treasures.
Actors were also paid due to their role within the
production, men playing women received the least, and it increased up to the
main actors, who received two shillings per day. Many Actors, such as William
Shakespeare, became stake holders within the theatre and therefore it was the
profits made by this that made them wealthy.
For today’s actors, The Globe theatre no longer holds open
auditions, but rather invites actors to auditions. This is due to the casting
department being on a small scale and therefore unable to respond to unsolicited
submission due to The Globe being an unsubsidised theatre.
The seasons of performances for the actors to participate in
are between March and October, and the rehearsal process usually starts 6 weeks
before the first performance. For this actors will be required to be fast
learners picking up the direction fast. They must be able to get to grips with
familiar aspects of Shakespeare’s language using features of iambic pentameter and
blank verse.
Again, there is no specific qualification needed to become
an actor, although degree’s in various types of acting is available; it is the
experience of performance that makes an actor become desirable. Their ability
to memorize, be a persistent and determined performer shows there passion and
their control over making the character believable and enjoyable. The control
over the voice and creativity they can offer to the performance is something
that will become appealing for a director in order to employ them into being
cast.
Scenic Director:
At the
Globe, set design is often kept to a minimum because the painting on the front
of the tiring house cannot be changed. This involves the ‘frons scenae’ is the
back wall of The Globe Theatre which is covered in mythological symbols and
figures, often draped in hangings. Designers can use different floor coverings,
or design various props, but the stage crew must be able to change the set in
one hour because there are two different performances each day.
Scenic directors would meet with the director before hand and
go through the script in order to indentify concepts within the script and the
best way that create that idea. From this they can then begin to sketch
developed ideas and where the props and parts of the setting would go on stage,
remembering to be minimal due to comply with the Shakespearian style. They
scenic director would then supervise the creation of the set making sure it all
goes according to plan. Clear communication is needed and irregular hours will
be worked in order to get the work done for the time period. It may be that set
is designed in another section of the building and is then brought down to the
stage once the performers are able to be introduced more features.
This
requires the scenic director to be able to create inventive designs that do not
detract from the acting but add to the desired atmosphere to mimic time periods
and themes and concepts within the play. Again, no specific qualifications are
needed (although available), rather a portfolio of previous work that
highlights creativity and a clear sense of following direction handed by the
director.
Marketing and Press:
These are
the people in charge of promoting and giving a successful reputation to the
theatre. Within the team there will be the Press and PR Manager, the Senior
Press and PR Officer and then the Communications Volunteers.
The Senior
Press and PR Officer will be able to (with the support of the rest of the team)
raise the profile of the organisation and reputation key local, national and
international media. They will work together to manage initial media requests
that will involve The Globe Theatre, this will involve the promotion of the open
season, helping to bring in a successful audience not only for performances but
for the tours and other activities that are offered by the theatre. There is
also the responsibility of being a
spokesperson for Shakespeare’s Globe Trust with the prior approval of the Press
and PR Manager, Commercial Director and/or relevant member of the Executive
Team. This can involve development of
the theatre internationally by identifying and sustaining relationships with
key journalists and media outlets.
They also
have to be aware of the photographs and films that are being taken within the
Theatre and the consequences they will have on the theatre as a whole. Here
they will need to converse with the Commercial officer in order for a consistent
approach of internal decision making by creating a successful filming policy. They
will have to successfully coordinate the season events making sure there is a
press night, photo calls and production of photography that promote the theatre
bringing in an audience that can help sustain the theatre finically.
There are
personally qualities that would be required to take on a job that demands on
the ball engagement, such as impeccable communication skills whether it is
verbal or written. A proactive and creative approach to the media; demonstrating
that they have previous experience dealing with difficult media enquiries. Desirable
qualities that this person could have is an experience working with commercial
and publicity benefits so they can apply these skills towards this job. They
have to be passionate about the theatre in order to drive their imagination
into the ideas of how they can raise the awareness of The Globe Theatre.
Stewarding/Ushers:
A steward’s
job is to monitor doors - help people find their seats, the gift shop or toilets
– or administer first aid if it needed. In The Globe they also sell cushions,
seatbacks, rain gear and blankets (due to the open air theatre). They also have
to watch for any unsolicited photography or filming and politely quieting
members of the audience to ensure the performance isn’t disturbed. They also
have to enforce health and safety regulations by keeping any safety paths
clear. All of the volunteers must also undergo fire safety training in order to
keep the audience safe and under strong management.
The Globe
has over 500 listed stewards and uses around 40 for each performance, the
matinee and the evening. The play a vital role in becoming the public face of
The Globe Theatre and are there to ensure that patrons, performers and the
audience members have an enjoyable and safe experience.
There are no
set qualifications, as this job relies on enthusiastic members of the public
that support wholeheartedly the work that is done at The Globe Theatre. The
Front of House manager is in charge of distributing the jobs between the
volunteers making sure they are aware of everything that will happen during the
performance so that the Stewards are able to adapt for any member of the
audiences needs.
