ABSTRACT
During three evenings in the late 1990s, the spheres of early Shakespearean texts, performance practices and space came into alignment, as Patrick Tucker and the Original Shakespeare Company mounted productions of Shakespearean plays at the recently constructed Shakespeare’s Globe on London’s Bankside. These Monday-night, “experimental-slot” productions brought together the F1 acting techniques and “original” texts Tucker champions, the attempt at reconstruction of an early modern playing space that the Globe project has been, and perhaps most significantly and uniquely, an attempt to prepare Shakespearean productions in ways intended to replicate the methods of Shakespeare’s own company. The Original Shakespeare Company’s efforts not only seem to fit ideally with the mission of the Shakespeare’s Globe, but provide an important perspective on the ways that the Globe’s resident acting companies had been working there, and what we may consider to be the boundaries of, and potential for, Shakespearean performance and theatre practice in general today.1
