The Globe

Shakespeare is widely known as a literary and linguistic genius for his peculiar use of language, so much so that style alone can collaborate any script written by Shakespeare. Contentious as his penmanship may be, history tells that he was a Bard not only in his art but a Bard in every beat of his breast, in every brink of his brim a Bard. What isn't common knowledge is the dialog is a dialect unique to Shakespeare yet bare no resemblance to the spoken word in any of the colloquial use of English during his lifetime.

Another little known fact about the Bard of Bard's life is that he is the bespoke 'Father of the Actors Guild', architect of bespoke system of stage production that needed a unique and never to be repeated staged ambient creative experience that entertained the embattled poor and enthrall nobility together in one night only spectacular and singular performance that combined the captive perspectives of social class to publicly voice his concerns about social inequalities and objections in clear and present witness of the public at large. Imagine the fearless gumption of Haley taking on the president and calling him to task with everyone witnessing to get a grasp on the mastery with which his mastery weaved art and social activism in a cauldron of marvel and a unforgettable experience for one night only. By using a rotating cast staggered performance cycle The Globe financed itself with the admissions, donations and grants by patrions who were dazzled by what he accomplished. Proir to his construction of 'The Globe Theatre actors were destined to roam the country and suffer the anger and scorn. Thanks to Shakespeare the actors had a stage to perform, a income to afford a family, and q family of creatives to sustain their passion for the performing arts. No more mere travelling Minstrels, to beg for scraps the Globe provided them with a house from home, a stage to perform, a income, a school to practice, train, instruct and exchange techniques to hone their craft. His unique blend of purpose and function with presence and perspective afforded the actors the perspective of conducting the performance the audience in the telling of the tale thereby creating a level of theatrical intimacy that left his staunchest critics dumbstruck. 

It is worth perhaps to mention that the method often made a mockery that played out in subsequent performances by injured parties heckling his loyalty to king and country, his beliefs and the habits that his brood inbred by  cast. With improntu responses by the cast and audience participation conducted by Shakespeare himself to raucous guffaws that made for instant fame and ponytrade notoriety.

The scripts are in fact recollections. A reflection of the 'Art of the Performance' as practiced by Shakespeare and his troop of actors. A style of performance able to relay unscripted relevance, express unexpected relation, and infer relevant intentions that some unwittingly refer to as 'rambling' at the detriment of their own, albeit limited perspective.

Paraphrasing from his famous quote, 'Life is but a stage for us to play the act we choose to share with those who wanton bask in the reward of mutual presence shared intent in mutual sense and relevance.' By establishing a physical structructure, a theatre called 'The Globe' to serve as a permanent home for the performing arts Shakespeare put his dream to practice and brought his wish to provide a platform of art that can be shared equally,  in one performance shared whatever your ability, sobriety, affliction, addiction, or social position.

The Globe Theatre was constructed to the William Shakespeare's exacting specifications and most of the plays he wrote was purposely written to be performed on a stage that he designed himself.

Unlike any theatres presently in use 'The Globe' allow for dedicating specific performances to selected audiences. While most of these sub-scripts are sadly lost to current versions of his plays, what presently remain of Shakespeare's original plays are reconstructed storylines without any regard to the side acts that were considered to be an integral part of the performances that Shakespeare staged on the playground of his self-realized imagination.

Widely acknowledged as the best playwright there ever was, few people are aware that Shakespeare staged his plays to three different points of view. One directed at the officials, noblemen and gentry which were seated above the stage looking down on the performance, another for full paying patrons who were positioned such that they could see the stage in it's entirety, and one for the poor and destitute who paid a pittance for standing room only around the foot of the stage. The seating arrangement provided Shakespeare with three different platforms where each stage play a part in the telling of his tale. One that would only be visible in its entirety by the full paying patrons sitting accross from the stage.



'The Pit' was the colloquial way of referring to the 'standing-room-only' space appropriated for the poor and destitute and it afforded Shakespeare with a platform of social criticism where he openly expressed his dismay at the social inequities rife during his day. Out of earshot of any of the seated patrons, the actors that perused the edge of the stage provided the rowdy crowds gathered round with varied eyewitness accounts of what was happening out of their line of sight. These storylines were tailor-made performances with scating social commentry that ridiculed the vulgar habits of nobility, and poked fun at the exorbitant practices of both England and France's fabulous, rich and famous, and Shakespeare conspired their raucus and obnoxious response to coincide to dramatic effect with whatever else was happening on the wider stage.

Whereas some of the performances were obscured from the birds eye view of officials and esteemed members of the court seated above the stage, there were various scenes that Shakespeare reportedly wrote that he specifically tailored for the 'privilaged' audience looming above the actors. Examples of these purposely directed performances still exist in the plays as we know them today, and the soliloquies of Lady Macbeth (out damn spot) and Hamlet (poor Yorik) and the death scene of Romeo and Juliet are generally considered as likely examples of scripted performences directly aimed at this highly selective segment of the attending audience.

The only perspective that was afforded a the luxury of a all inclusive and unobstructed point of view to the drama unfolding below them was afforded to the 'Patrons of the Art' as Shakespeare referred to the paying members of the audience. For all intent and practical purpose the current plays attributed to Shakespeare are mere fragments of his genius given the limitations of penning his multilayered performances to a single perspective the plays as they are known today is the only way of relating the convoluted storylines construed by the legendary Bard and his troop.

In addition the multilayered nature of the performances Shakespeare staged at 'The Globe' is undoubtedly responsible for the persistent allegations of dubious authorship, but perfectly plausable if we mind that none of his plays were witten by Shakespeare himself. What we conconsider today as the literary work attributed to 'The Bard' is in fact only the reconstituted scripts of various actors who performed the different parts in his respective plays.

By all accounts and available evidence the life of William Shakespeare exemplifies that of a true genius and master of the arts. One whose accomplishments are unrivalled, and though his body of work are mere fragments of his craft remain worthy of their renowned reputation as literary masterpieces that stand the test of time. The quintessential penmanship of a man we colloquially know as 'The Bard'.