Shakespeare's Globe Theatre. One of the oldest theaters in London: history

Shakespeare's first "Globe"

The Globe was owned by many actors who (with the exception of one) were also shareholders in Lord Chamberlain's Men. Two of the six shareholders of the Globe, Richard Burbage and his brother Cuthbert Burbage, held double shares of 25% each. The other four actors, Shakespeare, John Hemings, Augustine Philips, and Thomas Pope, had single shares of 12.5%. (William Kemp originally intended to be the seventh partner, but he sold his stake to four minority shareholders, leaving them with more than the originally planned 10%.) These initial proportions changed over time as new shareholders joined. Shakespeare's share during his professional life decreased from 1/8 to 1/14, or about 7%.

The Globe was built in 1599 using the timber structures of an earlier theater (London's first public theatre), simply called the Theatre, built by Richard Burbage's father, James Burbage, in Shoreditch in 1576. The Burbages originally leased the site on which the Theater was built for 21 years. In 1598, the owner of the land on which the "Theater" was located, increased the rent. Burbage dismantled the "Theater" beam by beam and transported it to the Thames, and there it was reassembled as a "Globe".

In July 1613, the Globe Theater burned down during a performance of Henry VIII.

The theatrical cannon, which was supposed to be fired during the performance, misfired, igniting the wooden beams and the thatched roof. According to one of the surviving descriptions of this event, no one was hurt, with the exception of one spectator, who extinguished short trousers (culottes) that caught fire on him with a bottle of ale.

Second Globe. Excavations

Like all other theaters in London, the Globe, rebuilt after a fire in 1614, was closed in 1642 by the Puritans. Two years later, it was demolished to prepare a site for the construction of tenement houses. Its exact location remained unknown until, in 1989, the remains of its base were discovered under the Park Street Anchor Terrace car park (the outline of the foundation is repeated on the surface of the car park). There may be other remains of a theater underneath Anchor Terrace, but the 18th-century terrace is listed as a Historic Treasure and therefore cannot be explored by archaeologists.

Globe layout

The actual dimensions of the Globe are not known, but its plan can be reconstructed almost exactly on the basis of scientific research carried out over the past two centuries. This evidence suggests that it was a three-tiered, open, high-walled amphitheater with a diameter of 97 to 102 feet (29.6-31.1 m), which could accommodate up to 3,000 spectators. A sketch by Wenceslas Hollar shows the Globe as a circular building. Later, in the same form, the theater that no longer existed was included in its engraved so-called. "Long Landscape" of London (1647). However, in 1997-1998. the discovery of a small part of the foundation of the Globe showed that it was a polygon with 20 (or possibly 18) sides.

On the inner side of the theater wall there were boxes for the aristocracy. Above them were galleries for wealthy citizens. There were three levels of seating in total. Separate privileged spectators were right on the stage.

At the base of the stage was a platform called the "parterre" (or, in the backyard in the old inns, "yard"), where for 1 penny people ("groundlings" - undemanding spectators) had to stand in order to see the performance. Groundlings ate hazelnuts during the performance - during the excavation of the "Globe" many nut husks were found preserved in the mud - or oranges.

The stage rectangle, also known as the "proscenium", is extended into the middle of the open courtyard. The stage measured approximately 43 feet wide (13.1 m), 27 feet deep and was raised nearly 5 feet (1.52 m) off the ground. This stage had a trapdoor that the performers used to exit the basement under the stage. There may have been other hatches around the stage. The theater stage had no curtain.

Huge columns on the sides of the stage supported the roof over the back of the stage. The ceiling under this roof was called "heaven" and could be painted with a sky with clouds. The hatch in the "heaven" gave the performers the opportunity to "descend from the sky" (deus ex machina), using some device made of ropes and ropes.

The back wall of the stage had two or three doors on the main level with a curtained interior stage and a balcony above it. These doors led backstage, where the actors dressed and waited for their exit. The balcony accommodated musicians and could also be used for scenes requiring the use of upper space, such as the balcony scene from Romeo and Juliet.

Performances in the theater went on in the light of day, without intermissions and with a minimum of scenery (see theatrical technique in the era of Shakespeare).

Modern "Globe"

Globus galleries and spectators in standing places

At the urgent request of the American actor and director Sam Wanamaker, the new Globe Theater was built according to an Elizabethan plan. The project team to recreate the theater included Theo Crosby of Pentagram as the architect, Beur Happold as the civil and service engineer, and Boyden & Co as the building inspector. Shakespeare scholar Professor Andrew Herr was the project's consultant. Construction was undertaken by McCurdy & Co. The opening took place in 1997 under the name Shakespeare's Globe Theatre. Now performances are shown every summer (from May to October). Mark Rylens was appointed the first artistic director of the modern Globe Theater in 1995. In 2006, Dominic Dromgoole succeeded him in this post.

The new theater on Bankside is nearly 225 yards (205 m) from the original location, counting from the center of the old theater to the center of the new one.

It was the first building with a thatched roof allowed for construction in London since the Great Fire in 1666.

Like the first Globe, today's theater has a projecting stage that protrudes into a huge circular courtyard surrounded by seating on three steeply inclined tiers. Seven hundred standing tickets (standing required, no sitting allowed) in the courtyard are available at each performance for £5 each. The only roofed part of the amphitheater is the stage and the (more expensive) seating. In winter, when the theater season is closed, the theater is used for educational purposes. Tours are held all year round.

When recreating the theater building, they tried to get a copy as close as possible to the original. This was facilitated by the discovery of the remains of the original Globe Theatre, which influenced the final plans and the decision on the location of the new building. The modernization of the theater included the installation of lighting equipment (performances in Shakespeare's day were performed during the day), sprinklers on the roof to protect against fire, and the fact that the theater is partially connected to a modern foyer, visitor center and additional backstage area to support performances. According to safety regulations, the performance can be attended by no more than 1,300 people, which is less than half of the 3,000 spectators that the theater is believed to have accommodated in Shakespeare's time.

Copies of the theater in other countries

A large number of copies and free interpretations of the Globe have been built around the world:

Coordinates : 51°30′30″ s. sh. 0°05′50″ W d. /  51.508333° N. sh. 0.097222° W d.(G)(O)51.508333 , -0.097222

Categories:

• Paintings based on the works of William Shakespeare
• William Shakespeare
• Theaters of London
• Theaters founded in 1599
• Theaters founded in 1997

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One of the oldest theaters in England, the Globe is a public theater in London. It was active from 1599 to 1644. In the "Globe" until 1642, the troupe "Servants of the Lord Chamberlain" played, headed by the main actor of this theater, the tragedian R. Burbage. The name of this troupe is associated with the work of Shakespeare - his dramatic and acting activities. It was the staging of the works of Shakespeare and other playwrights of the Renaissance that made this theater one of the most important centers of the country's cultural life.

It was at this time (since the 16th century) that the performing arts turned from amateur into professional. Troupes of actors arise, leading at first a wandering existence. They move from city to city, giving performances at fairs and in hotel yards. Philanthropy began to develop. Representatives of wealthy aristocratic families accepted actors into their servants - this gave them an official social position, albeit an extremely low one. Actors were considered servants of some nobleman. This position of the actors was fixed in the names of the troupes - "Servants of the Lord Chamberlain", "Servants of the Lord Admiral", "Servants of Lord Hendson". When James I came to the throne, the right to patronize troupes was granted only to members of the royal family. Accordingly, the troupes were renamed "Servants of His Majesty the King" or "Servants of His Highness the Crown Prince", etc.

Theater in England from the very beginning is formed as a private enterprise - it is run by entrepreneurs. They built theatrical buildings, which they rented out to acting troupes. For this, the owner received a large share of the proceeds from the performances. But there were also acting partnerships on shares. On such principles the life of the troupe, in which Shakespeare was a member, was built. Not all the actors of the troupe were shareholders - the poorer actors were on a salary and did not participate in the division of income. Such was the position of actors in secondary roles and teenagers who played female roles.

Each troupe had its own playwrights who wrote plays for it. The connection of the authors with the theater was very close. It was the author who explained to the actors how the play should be staged. The financial situation of the playwrights, who worked for entrepreneurs and lived only on literary earnings, was quite difficult. The actor-shareholder and playwright Shakespeare was able to achieve more favorable conditions for his work. In addition, he had patrons. He received significant sums from the Earl of Southampton. But in general, the work of the playwright was valued low and poorly paid.

Banquet halls in the palaces of the king and the nobility, courtyards of hotels, as well as grounds for baiting bears and cockfights also served as a place for theatrical performances. Special theater premises appeared in the last quarter of the 16th century. The construction of permanent theaters was started by James Burbage, who in 1576 built a theater performance room, which he called the Theater. In London, since the end of the 16th century, there have been three types of theaters - court, private and public. They differed in the composition of the audience, in the device, repertoire and style of playing.

Theaters for the general public were built in London mainly outside the City, that is, outside the jurisdiction of the London municipality, which was explained by the puritanical spirit of the bourgeoisie, which was hostile to the theater in general. City theaters were of two types. These theaters had no roof. In most cases, they were round in shape. The Globe Theater was octagonal. Its auditorium was an oval platform surrounded by a high wall, along the inside of which there were lodges for the aristocracy. Above them was a gallery for wealthy citizens. Spectators stood around three sides of the site. Some privileged spectators sat on the stage itself. The theater could accommodate up to 2000 people. Everyone was charged at the entrance. Those who wished to take a seat in the gallery paid extra for it, as did the spectators who sat on the stage. The latter should have paid the most. The performances were performed in daylight, without intermissions and almost without scenery. The stage had no curtain. Its distinguishing feature was the proscenium that protruded strongly forward and a balcony in the back - the so-called upper stage, where the action of the play was also played out. The stage platform went into the auditorium - the audience surrounded it from three sides. Behind the stage were the dressing rooms, stores of props and costumes. The stage was a platform about one meter high above the floor of the auditorium. From the artistic room there was an entrance under the stage, where there was a hatch through which "ghosts" appeared (for example, the shadow of Hamlet's father) and where sinners destined for hell fell through (like Faust in Marlowe's tragedy). The proscenium was empty. Tables, chairs, etc. were brought here as needed, but for the most part the stage of the English theater was free of props. The stage was divided into three parts: front, back and top. There were three doors at the back, where the actors entered and exited. Above the back stage was a balcony - in Shakespeare's chronicles, characters appeared on the balcony and were assumed to be on the castle wall. The upper stage was a podium or depicted Juliet's bedroom. Above the upper stage was a building called the "hut". It was shaped like a house. There were one or two windows here, which served for those scenes where, in the course of the action, the characters spoke from the window, like Juliet in the second act of the tragedy. When a performance began in the theater, a flag was hung on the roof of the hut - it was far visible and served as an identification sign that a performance was being given in the theater. In the 20th century, directors will return more than once to the principles of the poor and ascetic theater of Shakespeare's time, even to the point of experimenting with placing spectators on the stage.

There were very few written scenery in the Globe Theatre. The theater helped the viewer to understand what was happening, hanging, for example, signs with inscriptions - with the name of the play, with the designation of the scene. Much in this theater was conditional - the same place depicted one part of the field, then another, then the square in front of the building, then the room inside it. It was mainly from the speeches of the heroes that the spectators judged the change of scene. The external poverty of the theater demanded from the public an active perception of the performance - playwrights, including Shakespeare, counted on the imagination of the audience. For example, Shakespeare's play "Henry V" included the image of the palaces of the English and French kings, battles and battles of two large armies. They could not show this on stage, because Shakespeare directly addressed the audience:

Forgive me, gentlemen, if the mind is weak
Decided on such pitiful stages
Depict such a high subject!
Like here, where the roosters only fit to beat,
Fit the plains of France? Ile get bored
Here in the wooden "O" there are at least helmets,
Causing a thunderstorm near Azincourt?
Excuse me! But if next to the numbers
In a tiny space, millions
It is possible to depict, then let
And to us, insignificant zeros in the total amount,
Multiply the power of imagination in you!

Can you imagine that within these walls
Two powerful states are concluded...
Fill up all our shortcomings
With your fantasy...

The theater nurtured the imagination of the public, trusted it, and it did not demand the full materialization of everything that it heard from the mouths of the actors. It can be argued that the acting art of the era was at a high level. All the brilliant dramaturgy of Shakespeare would have remained invaluable if the actors had not been able to convey it to the audience. One can recall the words of Hamlet (his instruction to the actors), when he demands to pronounce a monologue in “easy language”, and not to bawl, he demands “not to cut the air with your hands”: “It revolts my soul when I hear how a hefty, shaggy fellow tears passion into shreds, down to tatters, and tears the ears of the stalls..." Shakespeare's plays demanded naturalness from the actor, when every passion must know its measure and conform every action with speech.

In 1613, the wooden building burned down, and the Globe Theater was again rebuilt from stone. In 1644, the Globe building was demolished by order of the Puritan Parliament.

And only in 1971, the American film director and actor Sam Wanamaker tried to find the foundation of the Shakespeare theater and began to rebuild the building.

Work on this project continued for more than 25 years; Wanamaker himself died in 1993, nearly four years before the remodeled Globe opened.

In 1997 a new "Globe" was built. The modern building, accommodating 1400 spectators, is a skillful reconstruction of a round wooden theater from the Elizabethan era.

Today, under the London sky, the words of Shakespeare's tragedies and comedies are heard from a round wooden platform.

Since the theater building has no roof, performances are held only in spring and summer. However, tours in the oldest London theater "Globe" are held daily.

Next to the restored Globe, a theme park-museum dedicated to Shakespeare has been opened. There is the world's largest exhibition dedicated to the great playwright; various thematic entertainment events are organized for visitors: here you can try to write a sonnet yourself; watch a sword fight, and even take part in a production of a Shakespearean play.

THEATER "GLOBE" (GLOBE), one of the oldest London theaters located on the south bank of the Thames.

The glorious history of the Globe Theater began in 1599, when in London, which was distinguished by a great love for theatrical art, buildings of public public theaters were built one after another. During the construction of the Globe, building materials were used that were left over from the dismantled building of the very first public London theater (it was called the Theatre). The owners of the building, the Burbages' troupe of famous English actors, had their land lease expired; so they decided to rebuild the theater in a new place. The leading playwright of the troupe, W. Shakespeare, who by 1599 became one of the shareholders of the Burbage Theater "Servants of the Lord Chamberlain", was undoubtedly involved in this decision.

Theaters for the general public were built in London mainly outside the City, i.e. - Outside the jurisdiction of the City of London. This was explained by the puritanical spirit of the city authorities, who were hostile to the theater in general. The Globe was a typical building of a public theater of the early 17th century: an oval room in the form of a Roman amphitheater, enclosed by a high wall, without a roof. The theater got its name from the statue of Atlanta that adorned its entrance, supporting the globe. This globe (“globe”) was surrounded by a ribbon with the famous inscription: “The whole world is acting” (lat. Totus mundus agit histrionem; better known translation: “The whole world is a theater”).

The stage adjoined the back of the building; above its deep part rose the upper stage platform, the so-called. "gallery"; even higher was the "house" - a building with one or two windows. Thus, there were four scenes in the theater: the proscenium, which protruded deeply into the hall and was surrounded by the audience on three sides, on which the main part of the action was played out; the deep part of the stage under the gallery, where interior scenes were played; a gallery that was used to depict a fortress wall or a balcony (here the ghost of Hamlet's father appeared or the famous scene on the balcony in Romeo and Juliet); and a "house", in the windows of which actors could also be shown. This made it possible to build a dynamic spectacle, laying in the dramaturgy a variety of scenes and changing the points of the audience's attention, which helped to maintain interest in what was happening on the set. This was extremely important: we must not forget that the attention of the auditorium was not supported by any auxiliary means - the performances were staged in daylight, without a curtain, under the continuous hum of the audience, animatedly exchanging impressions in full voice.

The auditorium of the "Globe" accommodated, according to various sources, from 1200 to 3000 spectators. It is impossible to establish the exact capacity of the hall - there were no seats for the bulk of the common people; they crowded into the stalls, standing on the earthen floor. Privileged spectators were located with some conveniences: on the inside of the wall there were lodges for the aristocracy, above them there was a gallery for the wealthy. The richest and noblest sat on the sides of the stage, on portable three-legged stools. There were no additional facilities for spectators (including toilets); physiological needs, if necessary, were easily coped with, during the performance - right in the auditorium. Therefore, the absence of a roof could be regarded more as a blessing than as a drawback - the influx of fresh air did not allow devoted fans of theatrical art to suffocate.

However, such simplicity of morals fully met the then rules of etiquette, and the Globe Theater very soon became one of the main cultural centers of England: all the plays of W. Shakespeare and other outstanding playwrights of the Renaissance were staged on its stage.

However, in 1613, during the premiere of Shakespeare's Henry VIII, there was a fire in the theater: a spark from a stage cannon shot hit the thatched roof above the deep part of the stage. Historical evidence claims that there were no casualties in the fire, but the building burned to the ground. The end of the “first Globe” symbolically marked the change of literary and theatrical eras: around this time, W. Shakespeare stopped writing plays.

Soon the building was rebuilt, already from stone; the thatched ceiling above the deep part of the stage was replaced with a tiled one. Burbage's troupe continued to play in the "Second Globe" until 1642, when a decree was issued by the Puritan Parliament and Lord Protector Cromwell to close all theaters and prohibit any theatrical entertainment. In 1644, the empty “second Globe” was rebuilt into a rental building. The history of the theater was interrupted for more than three centuries.

The idea of ​​the modern reconstruction of the Globe Theater belongs, oddly enough, not to the British, but to the American actor, director and producer Sam Wanamaker. He came to London for the first time in 1949, and for about twenty years, together with his like-minded people, bit by bit collected materials about the theaters of the Elizabethan era. By 1970, Wanamaker had established the Shakespeare Globe Trust, designed to renovate the lost theatre, create an educational center and permanent exhibition. Work on this project continued for more than 25 years; Wanamaker himself died in 1993, nearly four years before the remodeled Globe opened. The excavated fragments of the foundation of the old Globe, as well as the nearby Rose Theater, where Shakespeare's plays were staged in the "pre-Globus" times, became a landmark for the reconstruction of the theater. The new building was built from "green" oak wood, processed in accordance with the traditions of the 16th century. and is located almost in the same place as before - the new one is 300 meters away from the old Globus. The careful reconstruction of the exterior is combined with the modern technical equipment of the building.

The new Globus was opened in 1997. Since, according to historical realities, the new building was built without a roof, performances are held only in spring and summer. However, tours in the oldest London theater "Globe" are held daily. Already in this century, next to the restored Globe, a theme park-museum dedicated to Shakespeare was opened. There is the world's largest exhibition dedicated to the great playwright; various thematic entertainment events are organized for visitors: here you can try to write a sonnet yourself; watch a sword fight, and even take part in a production of a Shakespearean play.

Tatyana Shabalina

The very first Globe began operating in 1599, and it was built on the south side of the Thames, away from the municipal authorities, who did not really like places like the theater. Now the Globe Theater is located at New Globe Walk, 21. To get here, it is advisable to use the nearest metro stations Blackfriars and Southwark. Entrance to the theater is paid, the cost of standing places is 5 pounds.

The history of the theater and its actors

The Globe Theater is considered to be the very first theater in London. Before him, there was another theater on this site, which was called the Theater, but it was destroyed, and the Globe was built in the same place and from its own materials.

The first director of the theater was Richard Burbage. He was born into a family of actors, his father owned the first public theater in London. Richard, according to the reviews of viewers and critics, was an excellent actor who knew how to transform into his characters truthfully and emotionally. Glory came to Burbage when he began to play Shakespeare's plays in the troupe of the Lord Chamberlain. The acquaintance of Richard Burbage and Shakespeare gave rise to the idea to organize his own theater. The official owner of the Globe was Richard, together with his brother they owned half of it. Shakespeare owned 12%, the rest was distributed among the other 3 actors.

Initially, the Globe was a round platform surrounded by a low wall with balconies for spectators. It was on this site that the performances took place. There were no scenery here either, instead of them special signs were placed that indicated the time and place of this scene.

In 1613, during the performance of Henry VIII, the theater burned to the ground. It was rebuilt a year later, but did not last long, since puritanical sentiments in the country did not favor such establishments. The globe was demolished and a residential building was built in its place.

A New History of the Modern Globe

The new Globe was rebuilt according to found drawings, sketches and drawings, but 200 meters from the first building. It happened at the initiative of the famous director from the USA Sam Wenamaker. For more than three years he has been raising funds for the renewal of this world cultural property. The sketching and planning team included renowned architect and planner Theo Crosby and Buro Happold. On most issues, they were advised by art historian Andrew Herr.

The new theater was opened in 1997. It is clear that the construction was not without innovations, but the builders and architects tried to make the theater as original as possible. Here, as before, there are 3 tiers of hanging balconies, and all the places near the stage are only standing. The modern theater has a backstage, scenery, fire extinguishing systems, and lighting. It is interesting that the roof in the theater is thatched, the same as the first Globe originally had. That's what caused the fire.

The theater is designed for 1300 spectators, with 700 standing places, although in reality the theater can accommodate about 3000 visitors. Since the roof only covers the stage, performances can only take place during the warm season. In winter, the premises are used for teaching acting skills to students of universities, colleges, etc.

Repertoire of the Globe Theater

The world fame of the Globe is confirmed by its copies around the world. There are similar theaters in the USA, Germany and Italy.

The main repertoire of the theater is Shakespeare's plays, which is why the Globe is called Shakespeare's theater. By the way, next to the Globe there is a small museum that contains information about the life and work of the writer, his works and personal items. Together with theater actors, you can experience the plays The Taming of the Shrew, Henry IV, Hamlet, King Lear and others. The last years of his life, W. Shakespeare did not participate in the life of the theater, and after his death, his acting friends published the first collection of works by the great writer, which included 36 works. It must be said that Shakespeare's best dramatic plays were completed and improved right within the walls of the Globe, during rehearsals.

To get to the performance, you need to pre-book tickets on the website, or purchase the day before. The theater is open from May to October, but tourists can view it all year round. The time of performances in the theater often changes, so it needs to be clarified. The Globe is both a museum, a theater and the heart of the cultural life of the British capital.

This year, a huge number of events are expected to mark the 400th anniversary of the death of William Shakespeare. William Shakespeare was the greatest playwright.
The Elizabethan theater of Shakespeare's time was an endless universe, with its own unique face, its own archetypes, heroes, myths. In particular, these myths have overgrown the figure of Shakespeare himself, to the point that the very identity of the great actor from Stratford is being questioned.

Not a single manuscript written by Shakespeare himself has come down to us. The only evidence of its existence is immortal plays. The theater in which they were staged, time also did not spare. But everyone knows its name - Globe. Through the centuries, Shakespeare's theater was recreated, one might say that it was revived from the ashes, since it was burned down.

The legendary theater "Globe" ("The Globe"), comfortably located on the banks of the Thames in the heart of the city.
It was originally built in the Bankside area in 1599 with funds from the actors of the Lord Chamberlain's Men troupe, to which William Shakespeare belonged. The premieres of many plays by the great playwright took place there. The Globe was one of the most successful theaters in London, and Shakespeare was one of its co-owners, along with other actors.
What theaters looked like then - a round hall for three thousand people, a hole instead of a roof and a standing parterre

The Globe was not the first of the theaters in London. Before him there was the Theatre, Shoreditch. 1576, The Curtain Theatre, The Rose, The Swan and others.

Theater Theater in Shoreditch. 1576

The interior of the theater "Swan". Copy from a drawing by Johannes de Witt. 1596

In 1598, the owner of the land on which the Theater was located increased the rent, and the building was dismantled, and the building material was used to build a new theater on the other side of the Thames, called the Globe.

The first "Globe" was a typical public theater of the early 17th century: an oval room resembling a Roman amphitheater in shape, enclosed by a high wall, without a roof. The theater got its name from the statue of Atlanta standing at the entrance, supporting the globe, called the globe. The globe was surrounded by a ribbon with an inscription in Latin: Totus mundus agit histrionem (“The whole world is acting”, or in a more familiar translation - “The whole world is a theater”).
The Globe stood for only fourteen years. In 1613, during the performance of "Henry VIII", the theater cannon ignited the thatched roof of the theater, and the "Globe" burned to the ground.
The tragic end of the first Globe also marked the change of literary and theatrical eras: around the same time, Shakespeare stopped writing plays, said goodbye to the theater world and left for Stratford.
But the actors began to get hurt, and a new theater was built on the same place, the second "Globe", but with a tiled roof.

Reconstruction of the internal structure of the "Globe" (after the fire of 1613). 1958

The reconstruction is based on the memoirs of Wenceslas Hollar in 1635
about the "Globe" as it was built after the fire.
The theater remained the home of Shakespeare's company until the closure of all theaters by the Puritan authorities in England in 1642. Puritans were not interested in the theater, they were distinguished by extreme strictness of morals, asceticism and frugality. Therefore, the theater was demolished, and profitable houses were built in its place.

This is London, as depicted by the Czech engraver Wenceslas Hollar, who lived in England for many years and recorded how the city changed between frequent fires. In the panorama of 1647, the “Globe”, demolished in 1644, is depicted as a round three-story building (on the left side of the panorama) in the lush and far from the City Bankside area.

For centuries, the exact location of the theater remained unknown until, in 1989, the remains of its foundation were discovered under a car park.

The initiator of the Globe restoration project was an American actor, director and director Sam Wanamaker (1919-1993), known to a wide audience for films, incl. "Death on the Nile". While visiting London in 1949, he was disappointed to find that the only reminder of Shakespeare in place of the Globe was a plaque on the brewery wall.

Sam Wanamaker with the Globe Model

Having already been director of the New Shakespeare Theater in Liverpool, in the 1960s in Oxford, he finds early plans for a theater from the era of James I, which looked like designs for the Globe. A few years later, Wanamaker establishes a foundation whose goal was to restore the Globe Theater and create an educational center dedicated to Shakespeare on its basis. The location chosen was practically the same: the original Globe Theater was about 180 meters away from the reconstructed theater on Bankside.
Under Sam Wanamaker, the theater began to be restored, but the patron died without waiting for the completion of construction. In 1997 - three and a half years after Wanamaker's death - the theater and ancillary buildings were completed, and the new old Globe opened its doors again to theater lovers.

The Globe Theater stands on the pillars of Hercules. They are not made of marble, but of painted wood. On the trunks of these huge oaks, a roof decorated with the signs of the zodiac is held - the “vault of heaven”. Its purpose is to support the attic, from which the actors playing gods and angels can descend onto the stage through the most mysterious door in the theater - the gate. This door led both to the attic and under the stage. According to legend, through it it was possible to get into the underworld. Through this door, ghosts, witches, devils and other evil spirits appeared on the stage of the theater.

There is no auditorium as such - there is an auditorium with two galleries around. In Shakespeare's time, on unbearably hot days, about a thousand spectators stood in this courtyard, and the expression "moneyless stinking mob" was used in the literal sense. There was a smell of sweat and cheap beer - ordinary spectators were not picky with drinks.

Performances were held from two to five in the evening - the lighting was natural; the beginning of the performance was announced by the sound of a trumpet and the raised flag.
Now part of the auditorium is also open-air, so the theatrical season on this stage lasts from May 19 to September 20.

Previously, during the performance, the audience spoke loudly, joked, and laughed. Fights often broke out between the audience. Actors had a hard time playing in such conditions. There were cases when the spectacle was stopped, and the actors ran away from the stage, not wanting to become unwitting victims of brawls.

Brawls in the theater are a thing of the past, but standing places have been preserved. The courtyard can accommodate up to seven hundred spectators. Standing tickets are inexpensive - only five pounds - and this opportunity is eagerly used by students and young people. In total (with standing places) the theater is designed for one thousand six hundred people.

On the sides of the galleries are lodges that were once intended exclusively for noble gentlemen. Richer theatergoers could buy tickets for comfortable chairs in these boxes for sixpence. There is no royal box in the theater, and the royal family did not come to the Globe for security reasons.

The stage consisted of two areas: the front area and the back, separated by a sliding curtain. The front part was used for mass scenes, processions, duels (for example, scenes from Macbeth and Hamlet). Love scenes were usually performed behind the curtain (Romeo and Juliet's date, Othello's explanation to Desdemona...). Often during productions there were musicians on stage performing live music.

Like the first Globe, today's theater has a projecting stage that protrudes into a huge circular courtyard surrounded by seating on three steeply inclined tiers.

Today the Globe Theater is one of the best English and European theatres. Every year, before the start of the season, the theater troupe is re-formed. The repertoire includes both immortal plays by Shakespeare and new plays by contemporary authors. Approximately a quarter of a million people visit the theater every year.

The theater's productions include new adaptations of Shakespeare's The Tempest, A Midsummer Night's Dream and Macbeth, three world premieres based on plays by young English playwrights. In 2013, the theater hosted a tour of the theater from South Africa, the Marjanishvili Georgian Theater and the Belarusian Free Theatre. The Belarusian troupe presented "King Lear" staged by Vladimir Shcherban with Oleg Sidorchik in the title role. This performance received the highest critical acclaim after its premiere performances during the International Theater Olympics in 2012.

A large number of copies and free interpretations of the Globus were built all over the world, including in Moscow and Novosibirsk.