Globe Theater Quotes

It is not just bookstores and libraries that are disappearing but museums, theaters, performing arts centers, art and music schools— all those places where I felt at home have joined the list of endangered species. The San Francisco Chronicle, the Los Angeles Times, the Boston Globe and my own hometown paper, The Washington Post, have all closed their weekend book review sections, leaving books orphaned and stranded, poor cousins to television and the movies. In a sign of the times, the Bloomberg News website recently transferred its book coverage to the Luxury section, alongside yachts, sports clubs and wine, as if to signal that books are an idle indulgence of the super-rich. But if there is one thing that should not be denied to anyone rich or poor it is the opportunity to dream.

The moon fled eastward like a frightened dove, while the stars changed their places in the heavens, like a disbanding army. 'Where are we?' asked Gil Gil. 'In France,' responded the Angel of Death. 'We have now traversed a large portion of the two bellicose nations which waged so sanguinary a war with each other at the beginning of the present century. We have seen the theater of the War of Succession. Conquered and conquerors both lie sleeping at this instant. My apprentice, Sleep, rules over the heroes who did not perish then, in battle, or afterward of sickness or of old age. I do not understand why it is that below on earth all men are not friends? The identity of your misfortunes and your weaknesses, the need you have of each other, the shortness of your life, the spectacle of the grandeur of other worlds, and the comparison between them and your littleness, all this should combine to unite you in brotherhood, like the passengers of a vessel threatened with shipwreck. There, there is neither love, nor hate, nor ambition, no one is debtor or creditor, no one is great or little, no one is handsome or ugly, no one is happy or unfortunate. The same danger surrounds all and my presence makes all equal. Well, then, what is the earth, seen from this height, but a ship which is foundering, a city delivered up to an epidemic or a conflagration?' 'What are those ignes fatui which I can see shining in certain places on the terrestrial globe, ever since the moon veiled her light?' asked the young man. 'They are cemeteries. We are now above Paris. Side by side with every city, every town, every village of the living there is always a city, a town, or a village of the dead, as the shadow is always beside the body. Geography, then, is of two kinds, although mortals only speak of the kind which is agreeable to them. A map of all the cemeteries which there are on the earth would be sufficient indication of the political geography of your world. You would miscalculate, however, in regard to the population; the dead cities are much more densely populated than the living; in the latter there are hardly three generations at one time, while, in the former, hundreds of generations are often crowded together. As for the lights you see shining, they are phosphorescent gleams from dead bodies, or rather they are the expiring gleams of thousands of vanished lives; they are the twilight glow of love, ambition, anger, genius, mercy; they are, in short, the last glow of a dying light, of the individuality which is disappearing, of the being yielding back his elements to mother earth. They are - and now it is that I have found the true word - the foam made by the river when it mingles its waters with those of the ocean.' The Angel of Death paused. ("The Friend of Death")

William Shakespeare. She knew him. They were,the three of them-Lucinda,Daniel,and Shakespeare-friends. There had been a summer afternoon when Daniel had taken Lucinda to visit Shakespeare at his home in Stratford. Toward sunset,they'd sat in the library,and while Daniel worked on his sketches at the window, Will had asked her question after question-all the while taking furious notes-about when she'd first met Daniel, how she felt about him, whether she thought she could one day fall in love. Aside from Daniel,Shakespeare was the only one who knew the secret of Lucinda's indentity-her gender-and the love the players shared offstage. In exchange for his discretion,Lucinda was keeping the secret that Shakespeare was present that night at the Globe. Everyone else in the company assumed that he was in Stratford, that he'd handed over the reins of the theater to Master Fletcher.Instead,Will appeared incognito to see the play's opening night. When she returned to his side,Shakespeare gazed deep into Lucinda's eyes. "You've changed." "I-no,I'm still"-she felt the soft brocade around her shoulders. "Yes, I found the cloak." "The cloak,is it?" He smiled at her, winked. "It suits you.

Shakespeare’s way out of the dilemma of writing plays as pleasing at court as they were at the public theater was counterintuitive. Rather than searching for the lowest common denominator, he decided instead to write increasingly complicated plays that dispensed with easy pleasures and made both sets of playgoers work harder than they had ever worked before. It’s not something that he could have imagined doing five years earlier (when he lacked the authority, and London audiences the sophistication, to manage this). And this challenge to the status quo is probably not something that would have gone down well at the Curtain in 1599. But Shakespeare had a clear sense of what veteran playgoers were capable of and saw past their cries for old favorites and the stereotypes that branded them as shallow “groundlings.” He committed himself not only to writing great plays for the Globe but also to nurturing an audience comfortable with their increased complexity. Even before the Theatre was dismantled he must have been excitedly thinking ahead, realizing how crucial his first few plays at the Globe would be. It was a gamble, and there was the possibility that he might overreach and lose both popular and courtly audiences.

Yet [Hoggart] could not help noticing that those unschooled slum dwellers were mentally independent in a way that his postwar students were not. His grandmother’s range of cultural reference was narrow and unimpressive, consisting mainly of homespun aphorisms and the Bible, but at least her mind had not been colonized by pulp novels and Hollywood movies. The difference between the old culture and mass culture was like the difference between preparing a meal and microwaving one, and Hoggart’s students had been rendered helpless in teh same way as someone who has never been taught how to cook. The colonial aspect of mass culture was easier for Hoggart to spot because he was British. Mass culture, for England and Europe, was a foreign takeover. But “Americanization” homogenized the home country as much as it did the rest of the globe, sapping the life out of regional subcultures. Before the 1950s, music, theater, magazines, and even radio were all local, to one degree or another. Hollywood movies were not.

But, frustratingly, this clarity dissipates on closer consideration. There are nine Avon rivers in Britain. Another problem: monarchs did not attend plays in the public theaters. The “flights upon the Thames / That so did take Eliza and our James” cannot refer to performances at the Globe, Rose, or other theaters on the Thames. Elizabeth and James enjoyed their entertainment at court, where Shakespeare’s plays were often staged. (“ These dramas, the most treasured jewels of our literary heritage, were not composed for the gawkish groundlings of the Globe,” writes the scholar Richard Levin, “but for theatres and audiences far more worthy of them.”)

The dates were wrong. (The Queen’s letter was addressed to Shakespeare at the Globe—a decade before the theater was built.)

Those theaters, banished outside city limits as vaguely satanic, were essentially larger-scaled bait pits that offered a competing menagerie of mutilations, executions, murders, rapes, etc. The scripts were of course infused with Tudor propaganda to be lapped up by the illiterate masses. As one drunk groundling spat at an actor, another clamored onstage to protect Mercutio in a swordfight. (Eventually the Globe had to ban all steel at the door.) Meanwhile, the more affluent patrons hardly noticed the play at all, there being too many other distractions, such as dice and cards, with pickpockets, blackmailers, and prostitutes working the crowd. Like it or not, the Globe was a G thang, a drunken vice-ridden delivery system of Tudor duplicity, its grand finale each evening not the play but the bawdy jig that followed.

Theater owner Philip Henslowe, who put on early Shakespeare plays, recorded payments to twenty-seven playwrights—but never Shakespeare. Cuthbert Burbage, another theatrical entrepreneur and shareholder in the Globe, named him merely as one of several “men players,” not as the company’s playwright.

There was a time when slavery was good. It did its work, and when it finished creating capital it withered and died a natural death. Colonialism was good. It spread industrial culture of shared resources and markets. But to revive colonialism now would be an error. There was a time when the cold war dicated our every calculation in domestic and international relations. It is over. We are in the post-cold war era, and our calculations are affected by the laws and needs of globalization. The history of capital can be summed up in one phrase: in search of freedom. Freedom to expand, and now it has the chance at the entire globe for its theater. It needs a democratic space to move as its own logic demands.

But what we have done as a nation, that is much worse in the grand scheme of things, is that we have exported our idol worship to large portions of the globe. Today one can watch the latest American situation comedy (laced with repetitive, pervasive sexual content) in nations in most areas of the globe, appropriately translated into the local language. One can watch the latest movie from Hollywood on a silver screen in movie theaters in any developed nation.

Well,there's not much more to see," Bill said. "Just the usual routine of a building catching fire-smoke, walls of flame,people screaming and stampeding toward the exits,trampling the less fortunate underfoot-you get the picture.The Globe burned to the ground." "What?" she asked, feeling sick. "I started the fire at the Globe?" Surely burning down the most famous theater in English history would have repercussions across time. "Oh,don't get all self-important. It was going to happen anyway. If you hadn't burst into flames, the cannon onstage would have misfired and taken the whole place out." "This is so much bigger than me and Daniel. All those people-" "Look, Mother Teresa, no one died that night...besides you.No one else even got hurt. Remember that drunk leering at you from the third row? His pants catch on fire.That's the worst of it. Feel better?" "Not really.Not at all." "How about this: You're not here to add to your mountain of guilt. Or to change the past.There's a script,and you have your entrances and your exits." "I wasn't ready for my exit." "Why not? Henry the Eighth sucks, anyway." "I wanted to give Daniel hope. I wanted him to know that I would always choose him,always love him.But Lucinda died before I could be sure he understood." She closed her eyes. "His half of our curse is so much worse than mine." "That's good,Luce!" "What do you mean? That's horrible!" "I mean that little gem-that 'Wah, Daniel's agony is infinitely more horrible than mine'-that's what you learned here.The more you understand, the closer you'll get to knowing the root of the curse,and the more liekly it is that you'll eventually find your way out of it.Right?" "I-I don't know." "I do. Now come on, you've got bigger roles to play.

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a Bohemian artist named Wenceslas Hollar sometime in the late 1630s or early 1640s. Called the Long View, it is a lovely drawing—“ perhaps the most beautiful and harmonious of all London panoramas,” in Peter Ackroyd’s estimation—but a slightly strange one in that it depicts a view from a position slightly above and behind the tower of Southwark Cathedral (then known as the Church of Saint Saviour and Saint Mary Overie), as if Hollar had been looking down on the cathedral from another building—a building that did not in fact exist. So it is a view—entirely accurate as far as can be made out—that no human had ever seen. More to the point, it showed the second Globe, not the first, which had burned down in 1613, three years before Shakespeare died. The second Globe was a fine theater, and we are lucky to have Hollar’s drawing of it, for it was pulled down soon afterward, but it was patently not the place where Julius Caesar, Macbeth, and a dozen or so other Shakespeare plays were (probably to almost certainly) first performed.

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