‘Original Practices’ refers ____ a unique and radical experiment that ____ generated at the Globe and used historical performance to transform modern theatre practice. The reconstruction ____ a Shakespearean amphitheatre was premised on the idea that ____ would provide the ideal context for testing ____ what academics knew of early modern playing conditions. This led to an exceptional partnership ____ research and creative practice during Mark Rylance’s Artistic Directorship (1995-2005) ____ an attempt to discover and recreate Shakespeare’s company’s working practice. Actor and Audience relationship The biggest success of ‘Original Practices’ was the ____ of a new relationship between the ____ and actors. Unlike conventional theatres where the audience is in ____, everyone can see and be seen at the Globe and this led to a unique ____ with actors. Actors can ____ directly to an audience member or respond to the reaction of the audience. This creates an ____ experience where the audience becomes a vital component of the ____. Make-up The cosmetics used in the ‘Original Practices’ production of Twelfth Night attempted to simulate the aesthetic of Shakespeare’s time and evidence found in English Renaissance ____. It was impossible to use the authentic ____ for the white face-paint of the early modern period as this was made using white lead and ____. An equivalent was researched and white pigment mixed with chalk and almond ____ was found to be a similar and safe option. Professor Farah Karim-Cooper has equated the white mask cosmetics used for of Mark Rylance’s Olivia with portraits of Elizabeth I. The Wardrobe Notes also reveal the simple solution found for representing early modern blusher by ____ up pink children’s chalk. Clothing Jenny Tiramani was in ____ of the Wardrobe and the design of the productions. As early modern performance ____ on what the actors were wearing, rather than elaborate sets we see in modern theatre practice, her explorations went into the clothing. Mark Rylance wanted to wear clothes that had the same integrity as the reconstructed Globe. The building was made of oak and plaster and he asked Jenny to apply the same principles to the costumes. She based her ____ on existing Elizabethan and Jacobean clothing only used the materials and ____ of that period. All actors were ____ in full Shakespearean clothes, starting at a smock, through to being laced into gowns or doublet and hose. The clothing affected the actors’ posture and ____ and created a different dynamic. To emphasize this process, in the ‘Original Practices’ production of Twelfth Night, the Tiring House was open so the ____ could see actors getting ready. All-Male and All-Female Casts In Shakespeare’s time all ____ members were male with female characters being played by boys. Women were not ____ to perform on the stage as it was ____ an unseemly profession for women, until after the Restoration in the 1660s. The Globe ____ not to use boys to play women, but men did take the parts of women in all-male casts. Mark Rylance famously played female parts, including Olivia in Twelfth Night, 2002 and Cleopatra in Antony and Cleopatra, 1999. In a post-feminist era, there was a ____ against using all-male casts as part of the ‘Original Practices’ experiment. Mark Rylance’s ____ was to initiate productions that had all-female casts but used elements of ‘Original Practices’, such as the clothing. The first featured Kathryn Hunter as Richard III.

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