Abstract
ABSTRACTOne of the most striking features of performances at the reconstructed Shakespeare’s Globe has been the active role played by spectators there. This essay analyses the way in which the theatre and its audiences have constructed a sense of “the public” in the playhouse, paying particular attention to productions of Julius Caesar (1999 and 2014), Coriolanus (2006) and Titus Andronicus (2006 and 2014) in which the audience was addressed as both a fictional public and a real one. Drawing on video recordings and other archival material for all five productions, the essay examines the extent to which these roles were imposed by the production, or actively negotiated by spectators. It suggests that these productions marked key moments in the Globe’s changing uses of its audience.
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