Shakespeare’s ‘New Globe Theatre’ is an admired and captivating assemblage of architectural, theatrical and academic aspiration built on the bank of the River Thames, only a few hundred yards from the site of the original Shakespeare’s Globe Theatre.
Being the topic of many a scholarly debate it calls in to question issues such as authenticity, multiculturalism, theatrical experimentation and cultural dynamics. Described by Catherine Silverstone (2005, 31) as a ‘living’ theatre of emotional embodiment, the Globe seeks to educate and entertain.
However, as well as dealing with Elizabethan and Jacobean theatre, original writings and international theatre companies come to the Globe to perform. Does this make the Globe simply another theatre, a laboratory for contemporary drama or is it an important part of our living history, a heritage site from which we can learn?
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