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Actor head shots. Thanks for the inspiration from Shineylewis, Regina Pagles.
Lighting: AB800 in medium softbox CR, AB800 with grid, fill with 64" PLM with cover for fill.
Da un idea di Giulia Catania, progetto attore/doppiatore. Con l'aiuto di Giorgio Violino e Andrea Marietta. Grazie alla collaborazione di Spazio 211 - Torino. L’attore ci affascina, ci conquista, ci fa scegliere un film. È in grado di condizionare con il suo nome, il suo volto, la sua storia, la scelta di uno spettacolo, di inchiodarci alla poltrona. Poi nel buio, quando il racconto ci trattiene, ecco che la fascinazione del volto perde forza ed è la voce che ci conquista, la sua capacità di trasformare un momento di banali sequenze, in recitazione. La storia diventa rifrangenze, sonorità, una malia. Il volto lentamente si stempera e, da quel momento, l’attore diventa la sua voce e quella voce ci seguirà in altre storie, ritornerà altre volte e sempre riandremo a quelle emozioni che hanno saputo conquistarci. A poco a poco ogni attore si sfuma, perde consistenza, quasi si annulla e di lui resta, rimbalzando per altre opere, per momenti anche brevi, la sua voce, come una eco, come un miraggio. La parte è diventata il tutto e quel tutto sarà eterno, insostituibile. Cadono i capelli spuntano le rughe, il volto diviene meno bello, non è più interessante, ma c’è una parte di quel ritratto di Dorian Gray, in una sala di registrazione, che mai invecchia che sempre resta giovane, magari un po’ più maturo, ma migliora, ogni volta, ad ogni appuntamento. E la bravura di chi dietro lo specchio anima la vita professionale di un attore, spesso viene fraintesa, dimenticata, sottovalutata. Ho voluto con questo mio lavoro restituire un volto a una voce, rendere giustizia e chi è costretto a vivere di riflesso. Sovente, finiamo per amare di più quella voce che quell’attore, anzi quell’attore ci piace proprio per quella voce. Loro danno una vita nuova agli attori che doppiano, io ho voluto restituire una vita a chi riesce a farmi continuare un sogno. Quindi, in questo gioco, ho deciso di far doppiare fisicamente in foto l'attore, in questo caso Alex Polidori, che doppia con la voce e nelle mie foto Tom Holland (Spiderman). L'idea è di fare un progetto più completo con un buon numero di doppiatori che potrebbero prendere parte alla mia idea. Se sei un doppiatore e ti interessa chiamami.
West-German postcard by Kolibri-Verlag G.m.b.H., Minden/Westf., no. 2487 Photo: Columbia. Publicity still for The Guns of Fort Petticoat (George Marshall, 1957).
Audie Murphy (1925-1971) was the most decorated US soldier of World War II. Subsequently, he was a film actor and songwriter. In the 1950s and 1960s, he enjoyed success as a performer in Westerns and adventure films. Murphy received every military award his country had to offer, some of them more than once - a total of 33 awards and medals; among others, he was a recipient of the Medal of Honor. He received five of his decorations from France and one from Belgium. During his three years of service, he served in the 3rd US Infantry Division, where he rose from Private to First Lieutenant.
Audie Leon Murphy was born in Kingston, Texas in 1925. His parents were Josie Bell (Killian) and Emmett Berry Murphy, poor sharecroppers of Irish descent. There was great poverty in his family which counted eleven children, two of whom died. As soon as these children were old enough, they were employed to help earn a living. His father disappeared one day and was never heard from again. Over the years, the mother became increasingly weak and died when Murphy was 16 years old. The three youngest children were sent to an orphanage and Murphy went to work, first at a petrol pump and then at a radio repair shop. When the Japanese attacked Pearl Harbor, he decided to enlist in the army. On his seventeenth birthday, he applied to a Marine recruiting station but was rejected because he was not of sufficient weight. Finally, after another unsuccessful application to the paratroopers, he was accepted into the infantry. With the help of his sister, he had used a forged birth certificate, with 1924 as his date of birth, to make himself look old enough. At Fort Meade, where his training was to be completed, he kept insisting on being sent overseas and in early 1943 Murphy landed with the rest of the troops in North Africa. He would become the most decorated American soldier of World War II and participated in combat operations for 27 months. Early in June 1945, a month after the German capitulation, Murphy returned to the United States, where he received a hero's welcome in his native Texas. He was honourably discharged from the army with the rank of a first lieutenant on 21 September 1945. Murphy became world famous when he appeared on the cover of Life (16 July 1945) as the "most decorated soldier". After the outbreak of the Korean War in June 1950, he reenlisted in the 36th Infantry Division of the Texas National Guard. However, this division did not participate in combat. When Murphy left the Guard in 1966 it was with the rank of major. After Murphy returned from Europe, he bought a house in Farmersville for his eldest sister Corrine, her husband Poland Burns and their three children. His intention was that his youngest sister and two brothers, Nadine, Billie and Joe, who had been in an orphanage since their mother's death, would also move in with them but six children under one roof proved a bit much so Murphy took them in.
After actor James Cagney had seen Audie Murphy's picture on the cover of Life magazine, he invited him to Hollywood in September 1945. The first years there were difficult for Murphy. Cagney Productions paid for acting and dancing lessons but was reluctantly forced to admit that Murphy - at least at that point in his career - didn't have what it took to become a movie star. For the next several years he struggled to make it as an actor. Due to a lack of work, he became disillusioned, often ran out of money and slept on the floor of an old gym 'Terry Hunt's Athletic Club', owned by his friend Terry Hunt. He eventually got a bit role in the film Beyond Glory (John Farrow, 1948) starring Alan Ladd, and in Texas, Brooklyn and Heaven (William Castle, 1948) with Guy Madison and Diana Lynn. In this third film, Bad Boy (Kurt Neumann, 1949), Murphy got a leading role. Murphy also appeared in the film adaptation of Stephen Crane's book The Red Badge of Courage (John Huston, 1951), for which he received rave reviews. Murphy wrote his autobiography 'To hell and back' in 1949 and it became a national bestseller. The book was written by his friend David "Spec" McClure, a professional writer. He had great difficulty playing himself in the film version, To Hell and Back (Jesse Hibbs, 1955). He initially saw it as a kind of sell-out of his actions during the war and thought Tony Curtis should be given the lead role in the film. In the film, the reality was followed and Murphy's comrades died just as was mentioned in the book. At the end of the film, Murphy was the only member of his original regiment left. During the ceremony in which Murphy was awarded the Medal of Honor, his friends were represented as ghosts. This was Murphy's idea to honour his friends. The film was a huge hit and brought in almost 10 million US dollars during its first years, setting a box-office record for Universal that wasn't broken for 20 years until it was finally surpassed by Jaws (Steven Spielberg, 1975). One of his better pictures was Night Passage (James Neilson, 1957), a Western in which he played the kid brother of James Stewart. In 1959 he starred in the Western No Name on the Bullet (Jack Arnold, 1959), which was well received, despite Murphy playing a professional killer. He worked for Huston again on The Unforgiven (John Huston, 1960) opposite Burt Lancaster and Audrey Hepburn.
Audie Murphy was plagued by insomnia, bouts of depression and nightmares, probably a result of the many battles he had to fight during his life. His first wife, Wanda Hendrix, often spoke of Murphy's struggles. During the 1960s Murphy was addicted to the sleeping pill Placidyl for a time. When he realised he had become addicted he locked himself in a hotel room and taught himself not to use it. He also broke the taboo of talking about war-related mental conditions. To draw attention to the problems of returning veterans from Korea and Vietnam, he spoke candidly about his own. He called on the US government to pay more attention to this issue and to study more closely the impact of war on mental health. Meanwhile, the studio system that Murphy grew into as an actor crumbled. Universal's new owners, MCA, dumped its "International" tag in 1962 and turned the studio's focus toward the more lucrative television industry. For theatrical productions, it dropped its roster of contract players and hired actors on a per-picture basis only. That cheap Westerns on the big screen were becoming a thing of the past bode no good for Murphy, either. The Texican (Lesley Selander, 1966) with Broderick Crawford, his lone attempt at a new, European form of inexpensive horse opera, to become known as "the Spaghetti Western", was unsuccessful. His star was falling fast. He made a total of 44 films, but Murphy was also a rancher and businessman. He bred and raised thoroughbred horses and owned several ranches in Texas, Arizona and California. Murphy was also successful as a country singer and composer. He worked with Guy Mitchell, Jimmy Bryant, Scott Turner, Coy Ziegler and Ray and Terri Eddlemon, among others. Murphy's songs were recorded and sung by Dean Martin, Eddy Arnold, Charley Pride, Jimmy Bryant, Porter Waggoner, Jerry Wallace, Roy Clark and Harry Nilsson, among others. His two biggest hits were 'Shutters and Boards' and 'When the Wind Blows in Chicago'. In 1949, Murphy married film actress Wanda Hendrix and divorced her in 1952. He then married flight attendant Pamela Archer, with whom he had 2 children, Terrance Michael and James Shannon - named after two of his closest friends. Audie Murphy died in 1971 in a plane crash in the mountains of Virginia. Murphy was buried with military honours in Arlington National Cemetery. The official government representative was the decorated World War II veteran and future President G.H.W. Bush.
Sources: Wikipedia (Dutch) and IMDb.
And, please check out our blog European Film Star Postcards.
Terracotta figurine of actors with masks. During the Hellenistic age comedy grew so popular that its theatrical types became the subjects of mosaics, wall-paintings and a common non expensive motif figurines. All favorite subjects of comedy (the pedagogue, the villager, Heracles and old Silen) are often depicted as humorous, rotund figures wearing mask.
The actors wore tights that covered them from neck to wrists and ankles; under the tights they had heavy padding fixed over the belly and backside, and sometimes breasts as well. The seams down the sides of sleeves or leggings were often made clear by painters. On the outside of the tights at the front was affixed a large leather phallus.
Source: Gregory W. Dobrov, “Brill’s Companion to the Study of Greek Comedy”
Terracotta figurine
Ca. 4th century BC
Thessaloniki, Archaeological Museum
Photoshoot with Matthew Raetz
Actor/Model
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Lake Vista
New Orleans, Louisiana
Austrian postcard by B.K.W.I. (Brüder Kohn, Wien). Feodor Chaliapin as Don Quixote
Russian opera singer Feodor Chaliapin (1873–1938) was an international sensation and is considered as the greatest Russian singer of the twentieth century, as well as the greatest male operatic actor ever. The possessor of a large, deep and expressive basso profundo, he was celebrated at major opera houses all over the world and established the tradition of naturalistic acting in operas. The only sound film which shows his acting style is Don Quixote (Georg Wilhelm Pabst, 1933).
Feodor Ivanovich Chaliapin (Russian: Фёдор Ива́нович Шаля́пин, or Fyodor Ivanovich Shalyapin) was born in 1873, into a poor peasant family in Omet Tawi, near Kazan, Russia. His childhood was full of suffering, hunger, and humiliation. From the age of 10, he worked as an apprentice to a shoemaker, a sales clerk, a carpenter, and a lowly clerk in a district court before joining, at age 17, a local operetta company. In 1890, Chaliapin was hired to sing in a choir at the Semenov-Samarsky private theatre in Ufa. There he began singing solo parts. In 1891, he toured Russia with the Dergach Opera. In 1892, he settled in Tiflis (now Tbilisi, Georgia), because he found a good teacher, Dmitri Usatov, who gave Chaliapin free professional opera training for one year. He also sang at the St. Aleksandr Nevsky Cathedral in Tbilisi. In 1893, he began his career at the Tbilisi Opera, and a year later, he moved to Moscow upon recommendation of Dmitri Usatov. In 1895 ,Chaliapin debuted at the Imperial Mariinsky Theatre as Mephistopheles in Charles Gounod’s Faust, in which he was a considerable success. In 1896 he also joined Mamontovs Private Russian Opera in Moscow, where he mastered the Russian, French, and Italian roles that made him famous. Savva Mamontov was a Russian industrialist and philanthropist, who staged the operas, conducted the orchestra, trained the actors, taught them singing and paid all the expenses. At Mamontov's, he met in 1897 Sergei Rachmaninoff, who started as an assistant conductor there. The two men remained friends for life. With Rachmaninoff he learned the title role of Modest Mussorgsky's Boris Godunov, which became his signature character. Rachmaninoff taught him much about musicianship, including how to analyse a music score, and insisted that Chaliapin learn not only his own roles but also all the other roles in the operas in which he was scheduled to appear. When Chaliapin became dissatisfied with his performances, Chaliapin began to attend straight dramatic plays to learn the art of acting. His approach revolutionised acting in opera. In 1896, Savva Mamontov introduced Chaliapin to a young Italian ballerina Iola Tornagi, who came to Moscow for a stage career. She quit dancing and devoted herself to family life with Chaliapin. He was very happy in this marriage. From 1899 until 1914, he also performed regularly at the Bolshoi Theatre in Moscow. The couple settled in Moscow and had six children. Their first boy died at the age of 4, causing Chaliapin a nervous breakdown.
In 1901, Feodor Chaliapin made his sensational debut at La Scala in the role of the devil in Mefistofele by Arrigo Boito under the baton of conductor Arturo Toscanini. Other famous roles were Boris Godunov in Mussorgsky's opera, King Philip in Giuseppe Verdi's Don Carlos. Bertram in Giacomo Meyerbeer's Robert le Diable, and Ivan the Terrible in The Maid of Pskov by Nikolai Rimsky-Korsakov. His great comic characterizations were Don Basilio in Gioachino Rossini’s Il barbiere di Siviglia and Leporello in Wolfgang Amadeus Mozart’s Don Giovanni. In 1906, Chaliapin started a civil union with Maria Valentinovna Petzhold (also called: Maria Augusta Eluchen) in St. Petersburg, Russia. She had three daughters with Chaliapin in addition to 2 other children from her previous family. He could not legalize his second family, because his first wife would not give him a divorce. Chaliapin even applied to the Emperor Tsar Nicholas II with a request of registering his three daughters under his last name. His request was not satisfied. In 1913, Chaliapin was introduced to London and Paris by the brilliant entrepreneur Sergei Diaghilev. He began giving well-received solo recitals in Paris in which he sang traditional Russian folk songs as well as more serious fare, and also performed at the Paris Opera. His acting and singing was sensational to the western audiences. He made many sound recordings, of which the 1913 recordings of the Russian folk songs Vdol po Piterskoi and The Song of the Volga Boatmen are best known. In 1915, he made his film debut as Czar Ivan IV the Terrible in the silent Russian film Tsar Ivan Vasilevich Groznyy/Czar Ivan the Terrible (Aleksandr Ivanov-Gai, 1915) opposite the later director Richard Boleslawski. Fourteen years later, he appeared in another silent film, the German-Czech coproduction Aufruhr des Blutes/Riot of the blood (Victor Trivas, 1929) with Vera Voronina and Oscar Marion.
Feodor Chaliapin was torn between his two families for many years, living with one in Moscow, and with another in St. Petersburg. With Maria Petzhold and their three daughters, he left Russia in 1922 as part of an extended tour of western Europe. They would never return. Ther family settled in Paris. A man of lower-class origins, Chaliapin was not unsympathetic to the Bolshevik Revolution and his emigration from Russia was painful. Although he had left Russia for good, he remained a tax-paying citizen of Soviet Russia for several years. Finally he could divorce in 1927 and marry Maria Petzhold. Chaliapin worked for impresario Sol Hurok and from 1921 on, he sang for eight seasons at the Metropolitan Opera in New York. His debut at the Met in the 1907 season had been disappointing due to the unprecedented frankness of his stage acting. In 1921, the public in New York had grown more broad-minded and the eight seasons were a huge success. According to Steve Shelokhonov at IMDb, Chaliapin was the undisputed best basso in the first half of the 20th century. He had revolutionised opera by bringing serious acting in combination with great singing. His first open break with the Soviet regime occurred in 1927 when the government, as part of its campaign to pressure him into returning to Russia, stripped him of his title of 'The First People’s Artist of the Soviet Republic' and threatened to deprive him of Soviet citizenship. Prodded by Joseph Stalin, Maxim Gorky, Chaliapin’s longtime friend, tried to persuade him to return to Russia. Gorky broke with him after Chaliapin published his memoirs, Man and Mask: Forty Years in the Life of a Singer (Maska i dusha, 1932), in which he denounced the lack of freedom under the Bolsheviks.
The only sound film which shows Chaliapin's acting style is Don Quixote/Adventures of Don Quixote (Georg Wilhelm Pabst, 1933). He had also starred onstage as the knight in Jules Massenet's 1910 opera, Don Quichotte, but the 1933 film does not use Massenet's music, and is more faithful to Miguel de Cervantes' novel than the opera. In fact there were three versions of this early sound film. Georg Wilhelm Pabst shot simultaneously with the German language version also English and French versions. Feodor Chaliapin Sr. starred in all three versions of Don Quixote, but with a different supporting cast. Sancho Pansa was played by Dorville in the German and French versions but by George Robey in the English version. Benoit A. Racine at IMDb: "These films (the French, English and German versions) were an attempt to capture his legendary stage performance of this character even though the songs are by Jacques Ibert. Ravel had also been asked to compose the songs for the film but he missed the deadline and his songs survive on their own with texts that are different from those found here. The interplay between the French and English versions is fascinating. Some scenes are done exactly the same for better or worse, some use the same footage, re-cut to edit out performance problems, while others have slight variants in staging and dialogue. (The English version was doctored by Australian-born scriptwriter and director John Farrow, Mia's father, by the way.) Even though the films are short and they transform, reduce and simplify considerably the original novel, they still manage to carry the themes and the feeling that would make Man of La Mancha a hit several decades later and to be evocative of Cervantes' Spain." In the late 1930s, Feodor Chaliapin Sr. suffered from leukaemia and kidney ailment. In 1937, he died in Paris, France. He was laid to rest is the Novodevichy Monastery Cemetery in Moscow. Chaliapin was awarded a Star on the Hollywood Walk of Fame for Recording at 6770 Hollywood Boulevard in Hollywood, California. In 1998, the TV film Chaliapin: The Enchanter (Elisabeth Kapnist, 1998) followed. His son Boris Chaliapin became a famous painter. who painted the portraits used on 414 covers of the Time magazine between 1942 and 1970. Another son Feodor Chaliapin Jr. became a film actor, who appeared in character roles in such films as the Western Buffalo Bill, l'eroe del far west/Buffalo Bill (Mario Costa, 1965) with Gordon Scott, and Der Name der Rose/The Name of the Rose (Jean-Jacques Annaud, 1986), starring Sean Connery. His first wife, Iola Tornagi, lived in the Soviet Union until 1959, when Nikita Khrushchev brought the 'Thaw'. Tornagi was allowed to leave the Soviet Union and reunited with her son Feodor Chaliapin Jr, in Rome, Italy.
Sources: Steve Shelokhonov (IMDb), Benoit A. Racine (IMDb), Encyclopaedia Britannica, Wikipedia and IMDb.
French postcard by Viny, no. 6. Photo: Metro-Goldwyn-Mayer (MGM).
William Powell (1892-1984) was an American actor, whose career began in silent film. He is best known for the Thin Man film series in which he starred opposite Myrna Loy. Powell was nominated for an Academy Award for Best Leading Actor a total of three times.
William Horatio Powell was born in Pittsburgh in 1892. He always wanted to act. When he was 18, he started studying drama at the American Academy of Dramatic Arts in New York. He graduated in 1912. He then went to Broadway. In 1922 he began a career in Hollywood with a role alongside Marion Davies in When Knighthood Was in Flower (Robert G. Vignola, 1922). In 1924 he signed a studio contract with Paramount Pictures and went on to star in numerous productions, including the now-lost 1926 premiere of The Great Gatsby (Herbert Brenon, 1926), starring Warner Baxter and Lois Wilson. In the silent era, he primarily played sinister characters such as thieves, blackmailers, and bad husbands. He finally attracted attention as Leo, the arrogant film director in Josef von Sternberg's The Last Command (1928) alongside Emil Jannings. The big success for Powell came with the advent of the talkies in the late 1920s, which also showcased his pleasant voice. The crime film The Canary Murder Case (Malcolm St. Clair, Frank Tuttle, 1929), in which he portrayed Philo Vance, the private detective best known from the novels of S. S. Van Dine, who investigates the death of Louise Brooks, "the Canary." It established him in more positive roles. Together with Kay Francis, Powell formed an on-screen pair in six films from 1930 to 1932. In 1931, he married actress Carole Lombard, whom he divorced in 1933.
In 1934, William Powell went to MGM, where he was teamed with Myrna Loy in Manhattan Melodrama (W.S. Van Dyke, 1934). While Philo Vance made Powell a star, another detective, Nick Charles, made him famous. Powell received an Academy Award nomination for the role of the wealthy amateur detective Nick Charles in the crime comedy The Thin Man (W.S. Van Dyke, 1934) with Myrna Loy as his wealthy wife Nora. Between 1934 and 1947 he appeared in 14 films as Loy's partner. In 1935, he had a relationship with Jean Harlow and they got engaged. However, they never married. Harlow died in 1937. Powell starred in the Best Picture winner for 1936, The Great Ziegfeld (Robert Z. Leonard, 1936). He received his second Academy Award nomination for My Man Godfrey (1936) and his third for his work in Life with Father (Michael Curtiz, 1947) with Irene Dunne and Elizabeth Taylor. His screen appearances became less frequent after that, and his last role was in Mister Roberts (John Ford, Mervyn LeRoy, 1955). William Powell died of natural causes in Palm Springs in 1984. He was married three time. His wives were Eileen Wilson (1915-1930), Carole Lombard (1931-1933) and Diana Lewis (1940-1984 - his death). With Wilson, he had a son, William Powell. His son stabbed himself to death while taking a shower. He left a four-page good-bye letter to his father, with whom he was very close.
Sources: Tony Fontana (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Explore: Jul 5, 2008 #280. A promotional shot for Oliver O'Dea, the former Cambridge boxer who is now focussing again on his acting career. I wanted to convey a sense of the future, with him looking to the future and the path ahead! He tells me he has a role in The Hunt for Gollum, a Lord of the Rings fan film, which is due out by the end of the year.
More on Oliver at www.oliverodea.com/index.html
and the film at www.hunt4gollum.com/ .
Photoshoot with Matthew Raetz
Actor/Model
Learn more about Matt here
and here
Lake Vista
New Orleans, Louisiana
Shakespeare's Globe is a realistic true-to-history reconstruction of the Globe Theatre, an Elizabethan playhouse first built in 1599 for which William Shakespeare wrote his plays. It is located on the south bank of the River Thames, in the London Borough of Southwark and hosts theatrical productions.
Background
The original theatre was built in 1599, destroyed by a fire in 1613, rebuilt in 1614, and then demolished in 1644. The modern Globe Theatre is an academic approximation based on available evidence of the 1599 and 1614 buildings. It is considered quite realistic, though modern safety requirements mean that it accommodates only 1,400 spectators compared to the original theatre's 3,000.
The modern Shakespeare's Globe was founded by the actor and director Sam Wanamaker, and built about 230 metres (750 ft) from the site of the original theatre in the historic open-air style. It opened to the public in 1997, with a production of Henry V.
Michelle Terry currently serves as artistic director. She is the second actor-manager in charge of the organisation, following Mark Rylance, the founding artistic director.
The site also includes the Sam Wanamaker Playhouse, an indoor theatre which opened in January 2014. This is a smaller, candle-lit space based on historic plans for an indoor playhouse of Jacobean era London (possibly Blackfriars Theatre).
The Shakespeare's Globe Studios, an educational and rehearsal studio complex, is situated just around the corner from the main site.
Planning and construction
In 1970, American actor and director Sam Wanamaker founded the Shakespeare Globe Trust and the International Shakespeare Globe Centre, with the objective of building a faithful recreation of Shakespeare's Globe close to its original location at Bankside, Southwark. This inspired the founding of a number of Shakespeare's Globe Centres around the world, an activity in which Wanamaker also participated.
Many people maintained that a faithful Globe reconstruction was impossible to achieve due to the complications in the 16th-century design and modern fire safety requirements; however, Wanamaker and his associate Diana Devlin persevered in their vision for over 20 years to create the theatre. A new Globe theatre was eventually built according to a design based on the research of historical adviser John Orrell.
It was Wanamaker's wish that the new building recreate the Globe as it existed during most of Shakespeare's time there; that is, the 1599 building rather than its 1614 replacement. A study was made of what was known of the construction of The Theatre, the building from which the 1599 Globe obtained much of its timber, as a starting point for the modern building's design. To this were added: examinations of other surviving London buildings from the latter part of the 16th century; comparisons with other theatres of the period (particularly the Fortune Playhouse, for which the building contract survives); and contemporary drawings and descriptions of the first Globe. For practical reasons, some features of the 1614 rebuilding were incorporated into the modern design, such as the external staircases. The design team consisted of architect Theo Crosby of Pentagram, structural and services engineer Buro Happold, and quantity surveyors from Boyden & Co. The construction, building research and historic design details were undertaken by McCurdy & Co.
In 1994, the name "Globe Theatre" was used by one of the theatres in Shaftesbury Avenue; to make the name available and to avoid confusion, that year it was renamed as the Gielgud Theatre.
The theatre opened in 1997 under the name "Shakespeare's Globe Theatre", and has staged plays every summer.
Personnel
Mark Rylance became the first artistic director in 1995 and was succeeded by Dominic Dromgoole in 2006. In January 2016, Emma Rice began her term as the Globe's third artistic director, but in October 2016 announced her decision to resign from the position. On 24 July 2017 her successor was announced to be the actor and writer Michelle Terry.
Location and features
The theatre is located on Bankside, about 230 metres (750 ft) from the original site—measured from centre to centre. Listed Georgian townhouses now occupy part of the original site and could not be considered for removal. Like the original Globe, the modern theatre has a thrust stage that projects into a large circular yard surrounded by three tiers of raked seating. The only covered parts of the amphitheatre are the stage and the seating areas.
The reconstruction was carefully researched so that the new building would be as faithful a replica of the original as possible. This was aided by the discovery of the remains of the original Rose Theatre, a nearby neighbour to the Globe, as final plans were being made for the site and structure.
The building itself is constructed entirely of English oak, with mortise and tenon joints and is, in this sense, an "authentic" 16th-century timber-framed building as no structural steel was used. The seats are simple benches (though cushions can be hired for performances) and the Globe has what has been claimed to be the first and only thatched roof permitted in London since the Great Fire of London in 1666. The modern thatch is well protected by fire retardants, and sprinklers on the roof ensure further protection against fire. The pit has a concrete surface, as opposed to earthen-ground covered with strewn rush from the original theatre. The theatre has extensive backstage support areas for actors and musicians, and is attached to a modern lobby, restaurant, gift shop and visitor centre. Seating capacity is 873 with an additional 700 "Groundlings" standing in the yard, making up an audience about half the size of a typical audience in Shakespeare's time.
Productions
Plays are staged during the summer, usually between May and the first week of October; in the winter, the theatre is used for educational purposes. Tours are available all year round. Some productions are filmed and released to cinemas as Globe on Screen productions (usually in the year following the live production), and on DVD and Blu-ray.
For its first 18 seasons, performances were engineered to duplicate the original environment of Shakespeare's Globe; there were no spotlights, and plays were staged during daylight hours and in the evenings (with the help of interior floodlights), there were no microphones, speakers or amplification. All music was performed live, most often on period instruments; and the actors and the audience could see and interact easily with each other, adding to the feeling of a shared experience and of a community event.
Typically, performances have been created in the spirit of experimentation to explore the original playing conditions of the 1599 Globe. Modern and conventional theatre technology such as spotlights and microphones were not used during this period. Beginning in the 2016 season, the new artistic director, Emma Rice, began experimenting with the theatre space by installing a temporary lighting and sound rig. The current artistic director, Michelle Terry, has brought back the experimentation on original playing conditions.
The Globe operates without any public subsidy and generates £24 million in revenue per year.
Acting and design students from the Mason Gross School of the Arts at New Jersey's Rutgers University study abroad at the theater as part of the Rutgers Conservatory at Shakespeare's Globe, a longstanding partnership between the institutions.
Sam Wanamaker Playhouse
Adjacent to the Globe is the Sam Wanamaker Playhouse, an indoor theatre modelled after a Jacobean-era theatre and used for performances during the winter months when the main theatre cannot be used.
Read Not Dead
Read Not Dead is a series of play readings, or staged "performances with scripts" that have been presented as part of the educational programme of Shakespeare's Globe since 1995. The plays selected are those that were written between 1576 and 1642 by Shakespeare's contemporaries or near contemporaries. These readings are performed at Shakespeare's Globe Studios as well as other theatres, halls, festivals and fields nationwide.
In 2013 there were Read Not Dead performances at the Wilderness Festival and at the Glastonbury Festival. In 2014, the final production in Read not Dead's first season was performed at the Sam Wanamaker Playhouse, which is the indoor Jacobean style theatre. The play selected for that occasion was Robert Daborne’s A Christian Turn'd Turk.
Globe on Screen
The Globe's productions are often screened in cinemas and released on DVD and Blu-ray. In 2015, the venue launched Globe Player, a video-on-demand service enabling viewers to watch the plays on laptops and mobile devices. The theatre was the first in the world to make its plays available as video-on-demand.
Other replicas
Replicas and free interpretations of the Globe have been built around the world:
Argentina
Argentina: Teatro Shakespeare.
Germany
Neuss am Rhein: Globe Neuss
Rust, Baden, Germany: in the Europa-Park
Schwäbisch Hall, Baden-Württemberg: houses a replica of the interior of the Globe Theatre.
Italy
Rome: Globe Theatre
Japan
Tokyo: Panasonic Globe Theatre
Tokyo: Meisei University's Shakespeare Hall, at its Hino campus
New Zealand
Auckland: Pop-up Globe
United States
Ashland, Oregon: Allen Elizabethan Theatre
Austin, Texas: Curtain Theatre
Cedar City, Utah: Adams Shakespearean Theatre
Dallas, Texas: Old Globe Theatre
Odessa, Texas: Globe of the Great Southwest
San Diego, California: Old Globe Theatre
Williamsburg, Virginia: Globe Theatre, in Busch Gardens Williamsburg
Twin Lake, Michigan: Blue Lake Fine Arts Camp, The Rose Playhouse.
Hempsted, New York: Hofstra University, Pop-up Globe