Published online by Cambridge University Press: 06 February 2015
This article considers the role of laughter at the early modern and reconstructed Globe Theatres. Recently, debate has emerged over the nature of laughter at the Globe, as some critics and scholars believe that the actors encourage the audience to laugh excessively at the reconstructed Globe Theatre on Bankside in London. This article explores these concerns by tracing the anxieties surrounding laughter during the early modern period, and analysing their views against the modern actor's perspective at the Globe. The article argues that the architecture and shared lighting of the theatre foster more comedic moments for the audience, and considers its implications.
1 Michael Billington, ‘Much Ado about Nothing – Review’, The Guardian, 27 May 2011, at www.theguardian.com/stage/2011/may/27/much-ado-about-nothing-globe, last accessed 27 May 2014.
2 Mollfrith, ‘Dear Mr. Billington’, 29 May 2011, comment on Michael Billington, ‘Much Ado about Nothing – Review’, The Guardian, at www.theguardian.com/stage/2011/may/27/much-ado-about-nothing-globe, last accessed 27 May 2014.
3 Michael Billington, ‘Dear Moll’, 30 May 2011, comment on Mollfrith's comment, ‘Much Ado about Nothing – REVIEW’, The Guardian, at www.theguardian.com/stage/2011/may/27/much-ado-about-nothing-globe, last accessed 27 May 2014.
4 Michael Billington, ‘To Hear or Not to Hear: Hamlet’, The Guardian, 14 June 2000, at www.theguardian.com/stage/2000/jun/15/theatre.artsfeatures, last accessed 27 May 2014.
5 Michael Billington, ‘Macbeth – Review’, The Guardian, 4 July 2013, at www.theguardian.com/stage/2013/jul/04/macbeth-review, last accessed 27 May 2014.
6 Kennedy, Dennis, ‘Shakespeare and Cultural Tourism’, Theatre Journal, 50, 2 (May 1998), pp. 175–88CrossRefGoogle Scholar.
7 Carson, Christie, ‘Democratising the Audience?’, in Carson, Christie and Karim-Cooper, Farah, eds., Shakespeare's Globe: A Theatrical Experiment (Cambridge: Cambridge University Press, 2008), 115–126, here p. 115Google Scholar.
8 Peter Hamilton Dyer, interview with Amy Kenny about All's Well that Ends Well, 1 July 2011.
9 Smith, Bruce, The Acoustic World of Early Modern England: Attending to the O-Factor (Chicago: The University of Chicago Press, 1999), p. 208Google Scholar.
10 Gurr, Andrew, The Shakespearean Stage: 1574–1642, 4th edn (Cambridge: Cambridge University Press, 2009), p. 259CrossRefGoogle Scholar.
11 Ibid., p. 197.
12 Phil Cumbus, interview with Amy Kenny about Much Ado about Nothing, 18 July 2011.
13 Peter Hamilton Dyer, interview with Amy Kenny about All's Well That Ends Well, 1 July 2011.
14 Worthen, William B., Shakespeare and the Authority of Performance (Cambridge: Cambridge University Press, 1997), p. 159CrossRefGoogle Scholar.
15 Tim Carroll, interview with Amy Kenny about Twelfth Night, 14 August 2012.
16 Falocco, Joe, ‘The New Globe’, in Falocco, Reimagining Shakespeare's Playhouse: Early Modern Staging Conventions in the Twenty-first Century (Cambridge: Cambridge University Press, 2010), 137–170, here p. 139Google Scholar.
17 Colin Hurley, interview with Amy Kenny about All's Well That Ends Well, 1 July 2011.
18 Lopez, Jeremy, Theatrical Convention and Audience Response in Early Modern Drama (Cambridge: Cambridge University Press, 2007), p. 200Google Scholar.
19 Machon, Josephine, (Syn)aesthetics: Redefining Visceral Performance (Houndmills: Palgrave Macmillan, 2009), p. 14CrossRefGoogle Scholar. Also see her Immersive Theatres: Intimacy and Immediacy in Contemporary Performance (Houndmills: Palgrave Macmillan, 2013), for more on these definitions and theatre experiences.
20 Ben Deery, interview with Amy Kenny about All's Well That Ends Well, 8 July 2011.
21 James Garnon, interview with Amy Kenny about Twelfth Night, 8 August 2012.
22 A Short Treatise against Stage Plays (London: 1625), p. 19.
23 Gosson, Stephen, Plays Confuted in Five Actions (London: Thomas Gosson, 1582), D1rGoogle Scholar.
24 Dekker, ThomasThe Guls Horne-Book (London: R.S. 1609), p. 27Google Scholar.
25 Aristotle, De Partibus Animalium, 673a5, trans. William Ogle, in Works of Aristotle, 2:202.
26 Greenham, Richard, ‘Of Joy and Sorrow’, in Greenham, , The Works of Reverend and Faithfull Servant of Jesus Christ M. Richard Greenham (London: Feliz Kyngston, 1601), p. 350Google Scholar.
27 Fiston, William, The Schoole of Good Manners (London: J. Danter for William Ihones, 1595), B8rGoogle Scholar.
28 Stubbes, Phillip, The Anatomy of Abuses (London: Richard Jones, 1583), p. 90Google Scholar.
29 Ibid., p. 90.
30 Jonson, Ben, Discoveries Made upon Men and Matter and Some Poems (London, Paris and Melbourne: Cassel and Company, 1892)Google Scholar, at www.gutenberg.org/dirs/etext04/dscv10h.htm, last accessed 27 May 2014.
31 Sidney, Sir Phillip, The Defence of Poesie (London: printed for William Pensenby, 1595), pp. 80–1Google Scholar.
32 Jordan, Thomas, The Walks of Islington and Hogsdon (London, 1657), H4rGoogle Scholar.
33 Jonson, Ben, Discoveries Made Upon Men and Matter and Some Poems (London, Paris and Melbourne: Cassel and Company, 1892)Google Scholar, at www.gutenberg.org/dirs/etext04/dscv10h.htm, last accessed 27 May 2014.
34 Phil Cumbus, interview with Amy Kenny about Much Ado about Nothing, 18 July 2011.
35 Colin Hurley, interview with Amy Kenny about Henry VIII and Anne Boleyn, 3 August 2010.