The Globe Theatre and its performance tradition

Today’s Globe Theatre on Bankside is a modern reconstruction that opened in 1997. It is based on the design of the historic Globe, which opened in 1599 and is associated with Shakespeare. The present-day stage is set within an open, timber-framed theatre. Galleries surround the yard, where some audience members stand. The close proximity between audience and performers is a defining feature. The theatre brings a historical performance concept to life, but it is not the original building from Shakespeare’s time.

The first Globe Theatre was built in 1599 by the acting company Lord Chamberlain’s Men, for whom William Shakespeare wrote and in which he had a share. The theatre’s operator believes that Julius Caesar was the first Shakespeare play performed at the Globe. Over the following years, many plays by Shakespeare and other writers were staged there.

The historic theatre underwent several changes. In 1613, its thatched roof caught fire during a performance of Henry VIII after a stage cannon misfired. The building burned down and was rebuilt with a tiled roof within a year. The second Globe remained in operation until 1642, when it was closed by order of Parliament. This history explains why the present building is described as the third Globe: between the Elizabethan theatre and the modern reconstruction came destruction, rebuilding and a long interruption.

Today’s Globe Theatre is an open timber building with a central, uncovered yard. Audience members stand there close to the stage, while others sit in the galleries. This design creates a direct relationship between performers and audience. The people in the yard are visible, and their reactions become part of the sound and rhythm of the space. Performances do not take place in a fully enclosed space sheltered from the weather; the open structure makes the sky and the elements part of the experience.

The space is arranged in a circle around the stage; the theatre’s operator describes its shape as a 20-sided polygon. The galleries extend around the open yard, creating different viewing angles. Seating and standing places differ in comfort and proximity to the stage. For understanding the theatre’s cultural significance, what matters is that the auditorium itself is part of the performance setting.

The building visitors see today grew out of an initiative by Sam Wanamaker. He wanted to create a reconstruction of the historic Globe near its original Bankside location. The Shakespeare Globe Trust was founded in 1971; Wanamaker died in 1993 before the work was completed. The present-day stage opened in 1997. The reconstruction uses traditional materials and aims to provide as plausible an approximation as possible of the historic theatre space. Nevertheless, it is a 20th-century building and should not be presented as a surviving Shakespeare-era structure.

The operator explains that the present building has a thatched roof and that special permission was required for it. The background is a regulation against thatched roofs introduced after the Great Fire of London in 1666. The construction, using oak timber and lime plaster, evokes the materials of historic theatre buildings. Details such as these bring the reconstruction to life without obscuring the distinction between the historical model and the present-day building.

Today’s programme includes Shakespeare, other Renaissance playwrights and new works. It also features music events, family activities, film screenings and educational programmes. The historic stage is therefore used not only for recreations of old performances, but as a living theatre space. Audiences experience classical texts in an open architecture that creates different demands and possibilities from those of an enclosed theatre.

The theatre embraces a range of acting styles and interpretations. The historical form does not prescribe a single, definitive performance style. Instead, the space raises questions: How does an audience standing nearby affect the impact of a soliloquy? What significance do the galleries and the open sky have? How can a modern audience understand the distance between Elizabethan theatrical practice and contemporary ideas? A performance tradition is therefore not a rigid reenactment, but a dialogue between historical form and contemporary art.

A visit to the Globe calls for different preparation than an evening at an enclosed theatre. Because the yard is open, comfort depends on the weather and choice of place. The operator notes that performances and tours take place in a range of weather conditions. Depending on their ticket, guests may sit in a gallery or stand in the yard. Cushions, backrests and weather-related equipment may be available; availability and conditions depend on the event.

The open stage also offers a distinctive view of the performance. The space allows the audience to see the architecture and the other spectators, rather than having them disappear into the darkness. Performers do not act before an invisible crowd, but within a visible circle of people. This effect is central to the historical idea of theatre, even though today’s building uses modern technology and contemporary production methods.

Is the present-day stage an exact copy of the historic Globe?

It is a modern reconstruction based on the historical design. The operator describes it as the third Globe building; the original from Shakespeare’s time no longer exists.

What role does the audience play in the open space?

The audience is visible from the stage and to the performers. Visitors standing in the yard are especially close to the performance, while the galleries offer different viewpoints.

Are Shakespeare’s plays the only ones performed at the Globe?

No. The programme also includes other Renaissance writers, new works, music, family activities and educational programmes. The specific programme varies.