Globe on video: from the “recording angel” to “High Definition and true surround sound”
Résumé
When Shakespeare’s Globe opened in 1995, three fixed cameras were installed to record information that might prove of relevance for future researchers. The aim was to determine whether the playing conditions would affect blocking and performance, and lead to significant changes. This article charts the changing approaches to video captures that the Globe has endorsed since its inception and attempts to make some distinctions between the practice of theatre “livecasts” and the Globe on Screen project. By examining the different recordings made available to the public since 1997 it seeks to map the emergence of an aesthetic specific to recordings of live performances at the Globe and the way the singularities of the playhouse constrain and inspire the cinematography. It ends with a discussion of the comparability of live performance at the Globe and relayed performance in a cinema or on DVD.
Loading...