11|6|14 - Business Unit - Case Study (Place)

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.