Laughter in King Lear (2008)
Can we laugh at King Lear? Even in Shakespeare’s greatest tragedies there are moments of comedy – and never more than in King Lear, writes Dr. Farah Karim-Cooper.
Although William Shakespeare worked in London theatres, plays were performed outside London; there was a theatre in Bristol, for example. Learn about what the city was like and what the landmarks were in this London fact sheet.
Music at the Globe
Claire van Kampen, Original Practices and Theatrical Experimentation
Myths of Honour - The Merry Wives of Windsor (2008)
It was no accident that Shakespeare set his play in Windsor, as Gwilym Jones reveals.
There were two different types of playhouse in London during Shakespeare’s time, outdoor and indoor playhouses. Learn about these very different theatres and the audiences they attracted in this Playhouses fact sheet.
Playing the Murderer - Love's Labour's Lost
The hunting scene in Love’s Labour’s Lost makes use of many complex associations, as Farah Karim-Cooper explains.
Thomas Middleton's A Chaste Maid in Cheapside and Beaumont and Fletcher's The Maid's Tragedy were performed in 1997, as part of the Festival of Firsts. Middleton's A Mad World, My Masters was performed in 1998, as part of the Season of Justice and Mercy. For each of these productions, this Research Bulletin explores:
• how the play was prepared for the Globe stage;
• the rehearsal process, including moving it onto the stage;
• the play in performance;
• interviews with the company;
• and the discoveries that were made during this production about the play and the playhouse.
Stage Blood Roundtable
The staging of bloody spectacle still poses many questions for scholars. Was stage blood used on the early modern stage? If so, in what form would it have appeared? Reading stage directions such as those in 1 Henry VI, The Bloody Banquet and Appius and Virginia tells us something about practice, but they tell us nothing about the materials used to construct stage blood. Was it indeed pig’s blood as some have suggested? Could they have used more stylised options, such as red ribbons? Or are plays like Macbeth and Titus Andronicus perhaps laden with blood imagery because it wasn’t practical to use ‘real’ blood on the stage?
The Theatre History Seminar provides a forum for theatre historians, actors, directors and postgraduates to share current research into early modern theatre.